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This book shows that screens don’t just distribute the visible
and the invisible, but have always mediated our body's
relationships with the physical and anthropological-cultural
environment. By combining a series of historical-genealogical
reconstructions going back to prehistoric times with the analysis
of present and near-future technologies, the authors show that
screens have always incorporated not only the hiding/showing
functions but also the protecting/exposing ones, as the Covid-19
pandemic retaught us. The intertwining of these functions allows
the authors to criticize the mainstream ideas of images as
inseparable from screens, of words as opposed to images, and of
what they call “Transparency 2.0” ideology, which currently
dominates our socio-political life. Moreover, they show how
wearable technologies don’t approximate us to a presumed
disappearance of screens but seem to draw a circular pathway back
to using our bodies as screens. This raises new relational,
ethical, and political questions, which this book helps to
illuminate.
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 Valery 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.
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 Valery 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.
The title of the third volume of Chiasmi International deliberately
reverses the tutle of one of Merleau-Ponty's last courses.
Moreover, two unpublished notes concerning music make up the
unusual opening of this volume. In these two ways, we are intending
to emphasize that more than ever we must pay attention to
Merleau-Ponty's particular tendency to seek the reason of (his)
philosophy in non-philosophy. This attention is exactly what serves
as the guiding thread throughout the ssays collected here, some of
which have been solicited from the partecipants of the fourth
"International Symposium of Phenomenology" (Perugia, 2000) while
others were presented in the third seminar on Merleau-Ponty at the
Husserl Archives in Paris (2000-2001). Texts by: Daniela Calabro,
Mauro Carbone, Fabio Ciaramelli, Francesco Colli, Duane H. Davis,
Wayne Froman, Michael Gendre, Xavier Guchet, Alexandre Hubeny, Kurt
Dauer Keller, Enrica Lisciani-Petrini, Maurice Merleau-Ponty, Ann
V. Murphy, Andrea Pinotti, Mario Todoro Ramirez Cobian, Myriam
Revault D'Allones, Calvin O. Schrag, Clara da Silva-Charrak, Davide
Scarso, Cecilia Sjoholm, Jenny Slatman, Ted Toadvine, Robert
Vallier.
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