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Copyright of Logos: A Journal, of Religion, Philosophy Comparative Cultural Studies & Art (08687692) is the property of Logos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The relationship between machines and architectural inspiration has changed over the years as technology has become more and more virtual. The machine allegory has therefore edged towards invisibility, pervasively penetrated the integrity of the body, and manipulated matter atom by atom. Architect, artist and academic Peter J Baldwin explains architecture's machinic infatuations, their histories and their exponential acceleration in a time of emerging singularity and technological convergence. [ABSTRACT FROM AUTHOR]

In this article, I focus on the way in which grief can alter temporal experience, to the extent that it is possible for the mourner to find themselves held out into the timeless time of the dead. My interpretation is informed by a close reading of poet Denise Riley's remarkable work Time Lived, without Its Flow, which I bring into dialogue with the shifting conceptions of time put forward by Maurice Merleau-Ponty. In so doing, I situate Riley's account of the limits of temporal experience in grief at the juncture of Merleau-Ponty's turn away from the horizontal time of Phenomenology of Perception, and towards the vertical time of The Visible and the Invisible. By conceptualising Riley's own interpretation of time in terms of Merleau-Ponty's turn to a thicker, ontological interpretation of time, I suggest we are able to think through the limits of temporal experience in grief and see what is lit up about time, meaning, subjectivity and inter-subjectivity, and life and death as a result. [ABSTRACT FROM AUTHOR]

Like architecture, design objects are constitutive parts of everyday life: used in various situations where they gain meaning and value. However, while engaging with objects we often do not focus our attention on them but enjoy their qualities as part of performing some action. The practical and the aesthetic merge, and while vision plays a role, touch is more important. The article suggests that the aesthetics of designed everyday objects need recognize a tacit aesthetic dimension, comprising what figures in the background of experience. Tacit aesthetics is discussed based on Michael Polanyi's ideas about the "from-to" structure of knowledge and perception, and Maurice Merleau-Ponty's phenomenology, highlighting the temporal structure of perception. Through examples of Finnish designed tableware from the mid-20th Century, especially by Kaj Franck, it is shown how material, form, and design ideologies interact with patterns of use, informing our aesthetic appreciation and engagement with things. [ABSTRACT FROM AUTHOR]

The first critical account of Marisa Merz's work was an unsigned interview, published on December 1966 in "marcatrè". We propose here to refer that text to the Turin critic Mila Leva Pistoi, author of other dialogues with the leading personalities of the new Italian art scene. The reference to the thought of Maurice Merleau-Ponty returns constantly, allowing Leva Pistoi to interpret in a phenomenological key the Living Sculptures of Marisa Merz, as well as the recent works of Mario Merz and Michelangelo Pistoletto. In that same 1966 a reference to the Freudian notion of «corporeal self» was used by Lucy Lippard in presenting the exhibition Eccentric Abstraction, with specific attention to the unstable and metamorphic works of Eva Hesse and Louise Bourgeois, for many aspects close to those of Marisa Merz, while Rosalind Krauss in "Artforum" leaned on the thought of Merleau-Ponty for her interpretation of the work of Donald Judd. The contributions of these three authors opened a post-minimalist critical perspective, which emphasized the essential character of every act of perception to define the meaning of the artwork and proposed an unprecedented triangulation, mediated by the living body, between the subject, the artwork, and the world.

Game studies' engagement with the phenomenology of Maurice Merleau-Ponty has until this point been used to produce an account of the experience of video game play. This article demonstrates a different orientation toward phenomenology, using it as a critical apparatus to articulate a speculative historical materialism and philosophy of interrelation that we call the after-human. Through comparative close readings of two video games that follow the end of the human species—Backbone (EggNut, 2021) and SOMA (Frictional Games, 2015)—we articulate this concept using the Merleau-Pontian concept of "flesh," or the simultaneous production of the subject and object, to levy a critique of (post)humanism and offer a futurist vision of solidarity through the intersubjective after-human. [ABSTRACT FROM AUTHOR]

Copyright of Beytulhikme: An International Journal of Philosophy is the property of Beytulhikme: An International Journal of Philosophy and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

My essay focuses on the figure of the phantom in the work of phenomenologist Maurice Merleau-Ponty and the ethnographer Michel Leiris. I study their evocation of gestures as a site of communication and argue that within the colonial situation all communication—including the gestural—is ghosted by histories and cultural understandings that remain opaque. [ABSTRACT FROM AUTHOR]

This text explores Search and Rescue (SAR) dog work, examining the interplay of Umwelt, semiosis, and behavior in both dogs and humans. Drawing on Uexküll's notion of Umwelt, the discussion unfolds across two semiotic levels: endosemiosis, involving the constitution of species-specific Umwelten through non-mimetic processes, and exosemiosis, reflecting semiotic interactions within the established Umwelt. Emphasizing the Kantian influence on Uexküll, the text parallels the concept of transcendental schematism with monogram drafting, illustrating how organisms constitute their Umwelten. The exploration extends to Merleau-Ponty's interpretation of the monogram in Kant and the Umwelt in Uexküll, framing behavior as melodic and underscoring the reciprocal influence between an organism and its Umwelt. Shifting focus to SAR dog teams, the essay elucidates the melodic teamwork between human handlers and dogs. It discerns the convergence of distinct search tones—human-driven rescue tones and dog-driven reward tones—harmonizing in a dynamic inter-species melody. The melodic metaphor, inspired by Merleau-Ponty, illuminates the shared behavioral space where humans and dogs contribute tonalities to the melody of SAR searches. The exploration underscores the handler's role in facilitating this melodic collaboration, requiring interpretation deeply immersed in the movements of the dog, and a balance between guidance and trust in the dog's autonomy during the search. [ABSTRACT FROM AUTHOR]

The experience error is the fallacy of attributing to our experience of a thing what we know to be true of that thing from an objective point of view. This paper argues that the "method of purification" advocated by Edmund Husserl for psychology is nothing other than avoidance of the experience error. The purity of psychology is not philosophical (transcendental) purity. Psychology remains in the natural attitude; it is pure if it is true to the subjective, psychical, genuinely lived content of experience and thus is purely descriptive. But that is easier said than done. Due to the dominance of the modern scientific outlook, the experience error is so insidious that, as the paper argues in a final section, Husserl himself was not immune to it. [ABSTRACT FROM AUTHOR]

While hybrid working offers many benefits, its individualizing inclination creates 'new vulnerabilities' by making social ties and work collectives more precarious. A growing number of studies have referred to co-presence to examine how hybrid work arrangements reshape sociality and togetherness at work. However, most consider co-presence as fundamentally distinct from vulnerability, creating a common divide between the two phenomena. This conceptual article posits a normative argument that recasting how co-presence relates to vulnerability should help to address the 'new vulnerabilities' at stake in hybrid working. After briefly exploring how the literature examines the interplay of co-presence and vulnerability, I draw on existential phenomenology – in particular, the ontological arguments of Maurice Merleau-Ponty and Judith Butler – to develop the notion of 'vulnerable co-presence' before introducing three points of attention, namely how it is (1) 'intercorporeal', (2) 'temporo-spatial' and (3) 'ethico-political'. I then outline the two main implications of this framework. First, it lays the groundwork for repoliticizing the hybrid workforce. Second, it offers practitioners a perceptual basis for imagining and learning new skills to 'hold the collective together' in hybrid organizational contexts. Finally, I present this article's methodological contributions and suggest some avenues for future research. [ABSTRACT FROM AUTHOR]

This essay takes the notion of "flesh" as the point of departure for exploring the viability and contemporary relevance of what Maurice Merleau-Ponty has called an "ontological psychoanalysis". Primary interlocutors will be Octavia Butler's novel Kindred and Hortense Spillers's essay, "Mama's Baby, Papa's Maybe: An American Grammar Book". [ABSTRACT FROM AUTHOR]

“Verdichtung der Sprachmaterie” – Thomas Kling and Oswald Egger in Dialogue with Inger Christensen In order to shed light on the important function Inger Christensen had for the German poetry scene in the 1990s and 2000s, the article examines texts by Thomas Kling and Oswald Egger. The central argument is that both Kling and Egger drew on Christensen’s sophisticated nature-philosophical inspired poetics in “det”/“das” to break away from an experimental poetry that is primarily interested in questions of language and media theory. Both seem to be particularly fascinated by Christensen’s attempt to think of the relationship between language and the world in terms of a chiastic entanglement, which shows clear traces of Maurice Merleau-Ponty’s phenomenology of perception. But despite this similarity, they react very differently to the poetological considerations of the Danish poet. Both do not adopt Christensen’s reflections uncritically but attempt to utilize them for their own aesthetic purposes.

Dullness is a quality that is hard to pin down for a woodworker; it defies easy definitions, and yet has the power to radically change the temper of experience. Using methods of self-observation drawn from sensory ethnography, I describe how I encounter dullness in my own skilled craft practice. I capture the intersensory nature of perception, how dullness is known through touch, sight, and sound. I follow traces of dullness on the wood I carve, in my body, and along the edge of my tool. This sensory portrait of dullness as elusive, relational, and shifting is a textured and nuanced account of how a craftsperson knows what they need to know from the body and experience. In the analysis section, I draw on Maurice Merleau-Ponty's theory of the inexhaustibility of perception to enhance my claim that dullness is not a fixed object, but a state filled with ambiguity. Perception does not give us easy answers. The article counters popular renderings of craft as practical or technical know-how with a contrary theory of craft as filled with poetic ambiguity. [ABSTRACT FROM AUTHOR]

In this article, we demonstrate empirically that imagination is fundamental in experiences of visual art. We do so through phenomenological interviews and analysis in dialogue with works of the phenomenologists Mikel Dufrenne, Edmund Husserl and Maurice Merleau-Ponty. We challenge Dufrenne's delimiting of imagination to a pre-reflective power of synthesis, and argue in favor of a more comprehensive psychological understanding of imagination, which encompasses psychological differences in actual lived experience. Our analysis shows how imagination is necessarily part of experiences with visual art, as it provides ways of exploring and unfolding the expressions of the work of art. Such experiences are therefore characterized by a close relation between imagination and perception, as well as an affective lining which belongs to our imaginings. [ABSTRACT FROM AUTHOR]

This article examines the experience of trauma, paying particular attention to how traumatization affects one's sense of body, time, and intersubjectivity. Furthermore, this study provides one example of how literature can be used in phenomenological research. Using both classical and contemporary phenomenological sources and deepening the analysis by discussing a first-person description by Marguerite Duras, the article aims to clarify one crucial aspect of traumatic experience: trauma alters experiential features so that the relation between traumatic past and present becomes rigid. [ABSTRACT FROM AUTHOR]

Maslow suggests that a study of "superior" human specimen might have the potential to identify biological traits that distinguish flourishing individuals from those who are languishing. Maslow's recommendation is open to criticisms. First, his method is circular. Second, the thrust of Maslow's project has a eugenic ring to it. However, while Maslow's eugenic vision should be sidelined, his call for an understanding of normativity and the need to overcome the fact-value dichotomy in psychology and neuroscience are well-considered recommendations. A phenomenological approach to normativity presents a more authentically humanistic approach to consideration of normativity. Husserl's concept of optimal givenness and Merleau-Ponty's notion of maximum grip illustrate that normativity is a quality that can be identified at a pre-predicative, implicit level of operative intentionality. Based on an examination of the notions of optimal givenness and maximum grip, the article further suggests that, within the context of interpersonal relations, agapic love can be understood to operate as a normative and regulative idea for ethical relations. Since this form of intentionality instantiates itself into perceptual and motor habits, normative ethical relations may be subject to investigation within neuroscience, to the extent that it maintains an ongoing dialogue with phenomenology. [ABSTRACT FROM AUTHOR]

In its first part, this paper is devoted to presenting Maurice Merleau-Ponty's phenomenology of space through some of his texts. Between 1942's The Structure of Behavior and the 1953 courses, Merleau-Ponty is refining a philosophy of movement, the most important concept of which is that of motor intentionality, which articulates the phenomenological theme of intentionality in relation to the problem of a subject's understanding of observed movement. Movement is thus related to intersubjectivity and Einfühlung. Next, we present the general aspects of and some problems with mirror neuron theory, which were already addressed elsewhere in Merleau-Ponty's phenomenology: the brain-body relation, the definition of the capability of mirroring in the other individual, the role of the environment in intersubjectivity, and the idea of meaning as "direction" toward goals. We suggest that a transdisciplinary approach can help solve some of the problems wrongly attributed to mirror neuron theorists. [ABSTRACT FROM AUTHOR]

This review essay treats several essays in the interesting new collection, Normality, Abnormality, and Pathology in Merleau-Ponty, edited by Susan Bredlau and Talia Welsh. I focus particularly on chapters that explore the ambiguous relationships between the embodied person and the intersubjective world. I also explore ways in which Michael Polanyi's ideas might enrich the discussion. [ABSTRACT FROM AUTHOR]

The use of language is frequently cited as a metric for moral consideration. This metric is typically a tool to exclude animal being from the realm of ethics or to promote human exceptionalism. Maurice Merleau-Ponty claims language is a gesture with varying degrees of complexity. Many animal beings use gesture to convey meaning complex and abstract enough to qualify as language according to Merleau-Ponty’s parameters. Rats, despite being thought of as vermin and of a lower order, are some of the beings that convey abstract and complex meaning through gesture. Rats play, work, socialize, communicate meaning, and even laugh. Rats, along with human and many other animal beings use language and should be usured into the realm of moral consideration with any and all language using beings. If not, some other metric for exclusion would have to be adopted.

On Two Kinds of Physics. The Embodied Formality of Mathematical Sciences The article challenges the core ideas that underlie the interpretation of the scientific revolution as presented by Edmund Husserl and Martin Heidegger. By examining the ancient Greek number theory and mixed sciences alongside modern algebra and mechanics, the paper highlights the significance of symbolization, which was overlooked by the two mentioned modern philosophers. Drawing upon the ideas of Jacob Klein, the paper presents a fresh approach to the comprehension of scientific idealizations, closely linked with Maurice Merleau-Ponty’s concept of symbolic behavior.

After asking whether the concept of totalitarianism still has a meaning in today's world, and whether its critique makes political sense, the author turns to the model provided by the two phases of Claude Lefort's attempts to understand totalitarianism over the past 60 years. He distinguishes two distinct phases; the first is framed by critical Marxism, the second influenced by the phenomenology of the late Merleau-Ponty. The author stresses Lefort's major works, including the role of his pathbreaking work on Machiavelli, ' La critique du totalitarisme et l'invention de la démocratie ', ' Un homme en trop ' (on Solzenhitsyn and the Goulag), and ' La complication ' (which rejects the oversimplified interpretation of totalitarianism as simply an ideology). [ABSTRACT FROM AUTHOR]

Attention has often been seen as a selective process in which the mind chooses which already‐formed objects to focus on. However, as Merleau‐Ponty and others have pointed out, this ignores the complexity and ambiguity of sensory information and imposes on it a set of already‐formed objects in the world. Rather, attention is a process by which objects in the world are constituted by the perceiving subject. Attention thus involves a process of mutual negotiation with the environment. There are connections between this and the process of attente described by Simone Weil, in which the perceiving subject suspends the dominant preoccupations of the ego in order to become more aware of an independent reality. This, in turn, expresses in a more modern idiom what early Christian teachers had to say about the role of attentive looking in the contemplative life. [ABSTRACT FROM AUTHOR]

Solitude. in my office. Where to start, what to do, what to read, how to make sense of all of this? Decisions. directions. movement. If I stop pushing forward, soothe my breath, dive in slowly, where do I reach? The others around, merging, affecting. Choices: Will this path be a dead end? To proceed – to withdraw – to remain? Reach-searching out. to touch the others, to connect with their words. Reach-searching in. to get in touch, to connect with the sensuous body. All embodied. [ABSTRACT FROM AUTHOR]

Background: Rehabilitation that supports the individual on the journey back to their usual selves after cancer treatment becomes increasingly important. Studies have shown that a focus on the connection between body and mind might be beneficial. Consequently, Whole Person Care and initiatives that fall in line with this holistic approach to health care, such as a dance‐like intervention needs further examination. The aim of this study was to explore the qualitative aspects of 5Rhythms® as experienced by people diagnosed with cancer. Method: A total of 29 (17 in 2017) participants were recruited through purposeful sampling. Participants underwent one 5Rhythms® session per week for 2 months. This qualitative study with a phenomenological approach used diaries and individual interviews as its methods for data collection. Data were analysed using Giorgi's phenomenological framework and Maurice Merleau‐Ponty's theoretical perspectives on phenomenological approaches to the body, perception and consciousness were applied. Results: Three main themes ('(now) I sense my entire body', 'Something liberating is happening inside my body' and 'We travel together') and five connecting sub‐themes were identified through the analysis process. Conclusion: Participating in 5Rhythms® contributed to reconnecting body and soul during or after battling cancer. It evoked thoughts and feelings of existential matter. Results suggest that participating in 5Rhythms® can assist in personal growth. The benefit of being among peers while on the path to recovery was also illuminated. In regard to rehabilitation, this study underlines the importance of being aware of the connection between body and mind. [ABSTRACT FROM AUTHOR]

Copyright of Ankara Üniversitesi Dil ve Tarih-Cografya Fakültesi Dergisi DTCF Dergisi is the property of Ankara Universitesi Dil ve Tarih-Cografya Fakultesi (DTCF Dergisi) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper offers a close reading of Merleau-Ponty's Institution Course Notes to reflect on the history of colonisation as both an event and a structure. On the one hand, colonial invasion is a singular cataclysmic event; on the other hand, it establishes legal, social, economic and psychic structures that seem increasingly inevitable the more they are repeated. Likewise, decolonisation may require a singular liberatory event, but it also calls for the (re)establishment of alternative traditions that issue a different "call to follow." A critical interpretation of Merleau-Ponty in conversation with abolitionist and decolonial thinkers helps to clarify the temporal and political relation between event and structure, building bridges between phenomenology and radical politics. [ABSTRACT FROM AUTHOR]

This paper charts the concepts of grip and the bodily auxiliary in Maurice Merleau-Ponty to consider how they find expression in disability narratives. Arguing against the notion of "maximal grip" that some commentators have used to explicate intentionality in Merleau-Ponty, I argue that grip in his texts functions instead as a compensatory effort to stave off uncertainty, lack of mastery, and ambiguity. Nearly without exception in Merleau-Ponty's Phenomenology of Perception, the mobilisation of "grip" is a signal of impending loss and is offered as a strategy for managing failure rather than as an example of sure-footed mastery. I read Merleau-Ponty alongside Mary Felstiner's Out of Joint: A Public and Private Story of Arthritis to explore these other, attenuated dimensions of grip as an example of a way of thinking disabled embodiment otherwise. [ABSTRACT FROM AUTHOR]

Theodor Adorno's 1960–1961 lecture course Ontology and Dialectics, recently translated into English, provides the most systematic articulation of his critique of Martin Heidegger. When Adorno delivered three of the lectures at the Collège de France, Maurice Merleau-Ponty was reportedly scandalised as he was at that time developing his own ontology, informed by Heidegger. However, this article problematises the assumption that Adorno's negative dialectic and Merleau-Ponty's late ontology are incompatible. First, Adorno's criticism of Heidegger's ontology is delineated, with particular focus on how Adorno argues that Heidegger's subordination of the human being to being is homologous with the logic of capitalism. Then, we turn to Merleau-Ponty's own engagement with Heidegger, with particular focus on how Merleau-Ponty cannot be accused of denigrating ontic beings. Finally, it is argued that Merleau-Ponty's indirect ontology has the same implications as those which allow Adorno to position his dialectical method as politically opposed to Heidegger's ontology. [ABSTRACT FROM AUTHOR]

This article reconstructs Gilles Deleuze's engagement with phenomenology, and with the phenomenological problematic of sensation, in his Francis Bacon: The Logic of Sensation. Considering Deleuze's adoption, from the phenomenology of art, of notions of sensation and rhythm, it examines how Deleuze complexifies these phenomenological notions by aligning them with his profoundly non-phenomenological notion of the body without organs, as well as with the concepts of modulation and the diagram. In mapping Deleuze's complexification of rhythm and his development of a logic of rhythmic modulation, this article shows how Deleuze immanently refines an approach to working beyond phenomenology, through phenomenology. [ABSTRACT FROM AUTHOR]

Claude Lefort je u knjizi Rad djela Machiavelli (Le travail de l'oeuvre Machiavel) svoje tumačenje Machiavellijevog političkog mišljenja popratio ekstenzivnim razmatranjem koje se odnosi na teoriju interpretacije. Iako je ona proizašla iz neposrednog bavljenja Machiavellijem, njezini su zaključci bitno šire prirode i stoje uz bok metodološkim uputama drugih velikih interpreta Firentinčevog djela koji su imali osviještena navlastita metodološka stajališta kao što su Leo Strauss, J. G. A. Pocock i Quentin Skinner. Središnji je pojam Lefortova razmatranja djelo mišljenja. U tekstu se on raščlanjuje posredstvom analize odnosa između tri figure, autora, čitatelja i interpreta. Pritom se kao osnova za razumijevanje prirode njihove međusobne povezanosti uzima fenomenologija Mauricea Merleau-Pontyja kojom je Lefortovo cjelokupno djelo snažno obilježeno.