Im Zeitalter der Hochspezialisierung sind sie selten geworden, die Philosoph*innen, die an der Universität wie im Feuilleton gleichermaßen zuhause sind. Dieter Thomä ist einer dieser Wenigen. Ob in leichtfüßigen Kolumnen oder in tiefschürfenden Studien zur Geistesgeschichte - stets gilt sein Interesse den Unruheherden innerhalb von Ordnungen, den Umschlagspunkten, an denen ein System kippt. In vier Jahrzehnten publizistischer Tätigkeit hat er der Philosophie neue Gegenstände erschlossen und die Öffentlichkeit mit provokativen Zeitdiagnosen bereichert. Anlässlich seines 60. Geburtstags werden die Denkanstöße gewürdigt, die (...) von seiner beherzten theoretischen Quertreiberei ausgingen. (shrink)

En philosophie, l'impossible a un nom : c'est, depuis Kant, la "chose en soi". La notion n'a pas bonne presse. A peine introduite, elle a connu un discrédit durable. Curieuse idée en effet que celle d'une réalité reconnue comme inconnaissable sans être pour cela impensable. Et pourtant, la chose en soi résiste et ne cesse de revenir sous diverses dénominations : "matière", "facticité", "résistance", "inconstructible", etc. Aujourd'hui encore, son idée hante les débats, du côté de la philosophie comme des sciences (...) de la nature ou de l'anthropologie, chez les métaphysiciens comme chez les philosophes les plus réalistes. Il fallait donc la traiter pour de bon : c'est chose faite avec cette compilation, qui regroupe parmi les plus grands noms de la philosophie contemporaine afin de régler cette question qui touche à l'absolu, donc à toute pensée. (shrink)

Seit über 30 Jahren gibt es in den deutschen wie französischen Kultur- und Geisteswissenschaften das Bestreben, den Begriff der »Lesbarkeit« von seiner engen Bindung an den geschriebenen Text zu emanzipieren. Die vorliegende Ausgabe von Trivium lässt einige der maßgeblichen Stimmen in dieser Debatte zu Wort kommen. Auf der gemeinsamen Schnittfläche von Mikrohistorie, Semiologie, Psychoanalyse, Kulturgeschichte, Physiognomie und Mantik zeichnet sich ein neues und zugleich altes Verständnis des Lesens ab. Wenn sich in der Moderne die Frage nach dem Lesen von Spuren (...) – und damit im weiteren Sinne von Indizien, Symptomen, Vorzeichen etc. – neu stellt, so wird damit an eine archaische Praxis des Lesens neu angeknüpft, welche uns vor das unabschließbare Problem der Lesbarkeit der Welt stellt. -/- Lire. Voilà une chose que ne réfléchissent plus les sur-alphabétisés que nous sommes, habitués à ingérer les signes sans y prendre garde. Repenser la lecture et l’investir d’une fonction critique suppose de méditer la lettre en revenant à son antériorité : se souvenir que, de tout temps et avant tout livre, il y a eu des lecteurs. Des lecteurs – littéralement – avant la lettre. L’art de la lecture réunit le chasseur lisant les déjections des animaux dans les forêts, l’astronome babylonien scrutant les cartographies stellaires, le pêcheur hawaïen lisant les courants marins en plongeant dans l’eau sa main et l’amant déchiffrant aveuglément le corps de l’aimée. On apprend à lire non seulement des textes, mais encore des partitions de musique, des tableaux de peinture, des cartes à jouer, des notations chorégraphiques, des sillons dans la terre, des tourbillons dans l’eau, des gestes révélateurs ou bien des rêves. (shrink)

Introduction: Return to the obvious -- Perception -- Language -- Ontology of the visible -- Conclusion: Toward dia-phenomenology.

Die Phänomenologie stellt eine der Hauptströmungen der Gegenwartsphilosophie dar und findet in zahlreichen Wissenschaften sowie in Praxis und Therapeutik starke Resonanz. Nach 120 Jahren Wirkungsgeschichte füllt die Bibliothek phänomenologischer Werke zahllose Bücherregale und selbst für Expert:innen ist die Forschungsliteratur mittlerweile unüberschaubar geworden. An allgemeinen Einführungen sowie spezialisierter Fachliteratur mangelt es dabei keineswegs, wohl aber an einem Handbuch, in dem sowohl der Vielfalt der historischen Entwicklungen als auch dem berechtigten Wunsch nach innerer systematischer Kohärenz Rechnung getragen wird. Das Handbuch Phänomenologie schließt (...) diese Lücke. Ausgewiesene Autor:innen bereiten in eigens für diesen Band verfassten Artikeln komplexe sachliche Zusammenhänge übersichtlich auf. Durch seinen Aufbau eignet sich das Handbuch sowohl für Anfänger:innen als auch für Fortgeschrittene. Anhand bündig präsentierter Grundbegriffe und Verfahren konturiert das Handbuch die Spezifik der phänomenologischen Methode, spart dabei jedoch nicht die Kontroversen und methodologischen Neuausrichtungen aus, die von ihrer Lebendigkeit und Vielstimmigkeit zeugen. Ein umfangreicher Schlussteil ist der Rezeption und Anwendung in einzelnen Wirkfeldern gewidmet. Als Hilfsmittel zur eigenständigen Erschließung der phänomenologischen Denkrichtung und zu ihrer Anwendung auf aktuelle Probleme zeichnet sich das Handbuch durch seine Leser:innenfreundlichkeit und einen stark forschungspraktischen Bezug aus. Ein Kompendium, das sich bald als ABC der Phänomenologie etablieren dürfte. -/- . (shrink)

Die Phänomenologie stellt eine der Hauptströmungen der Gegenwartsphilosophie dar und findet in zahlreichen Wissenschaften sowie in Praxis und Therapeutik starke Resonanz. Nach 120 Jahren Wirkungsgeschichte füllt die Bibliothek phänomenologischer Werke zahllose Bücherregale und selbst für Expert:innen ist die Forschungsliteratur mittlerweile unüberschaubar geworden. An allgemeinen Einführungen sowie spezialisierter Fachliteratur mangelt es dabei keineswegs, wohl aber an einem Handbuch, in dem sowohl der Vielfalt der historischen Entwicklungen als auch dem berechtigten Wunsch nach innerer systematischer Kohärenz Rechnung getragen wird. Das Handbuch Phänomenologie schließt (...) diese Lücke. Ausgewiesene Autor:innen bereiten in eigens für diesen Band verfassten Artikeln komplexe sachliche Zusammenhänge übersichtlich auf. Durch seinen Aufbau eignet sich das Handbuch sowohl für Anfänger:innen als auch für Fortgeschrittene. Anhand bündig präsentierter Grundbegriffe und Verfahren konturiert das Handbuch die Spezifik der phänomenologischen Methode, spart dabei jedoch nicht die Kontroversen und methodologischen Neuausrichtungen aus, die von ihrer Lebendigkeit und Vielstimmigkeit zeugen. Ein umfangreicher Schlussteil ist der Rezeption und Anwendung in einzelnen Wirkfeldern gewidmet. Als Hilfsmittel zur eigenständigen Erschließung der phänomenologischen Denkrichtung und zu ihrer Anwendung auf aktuelle Probleme zeichnet sich das Handbuch durch seine Leser:innenfreundlichkeit und einen stark forschungspraktischen Bezug aus. Ein Kompendium, das sich bald als ABC der Phänomenologie etablieren dürfte. (shrink)

The philosophical line of inquiry opened by Edmund Husserl remains one of the most inspiring ones for contemporary thinking, insofar as it places the experiential dimension at its center. Yet its initial disposition rests upon a fundamental misunderstanding. While phenomenology scolded the traditional representationalist accounts, for which we never have the things themselves, but ever only internal representations of it, its major advanced consisted in stressing that in experience, we have the things in themselves and not just emissaries or representatives. (...) However, this advance, which we will qualify as the " principle of selfhood " led to imprudently make another assumption, that is that in experience, we do not only have the things themselves (principle of selfhood) but that we also have them immediately (principle of immediacy). A deconstructive analysis of experience provides such a postulation to be problematic: what appears (phainestai) is never given right off the bat, but appears through something else (dia phainestai). The paper indicates where a deconstruction of Husserl's theoretical framework is necessary, and sketches the transformations of phenomenology into a kind of thinking that makes space for the intermediaries of experiences. Diaphenomenology starts off with the assumption that whatever appears appears through something. Experience has to be conceived of as transphenomenality. A diaphenomenological perspective moves away from both a foundationalist account of subjectivity (where the ego is the ground for all appearances) and a merely accusative account of it (where the ego is nothing but a pole of affections). It describes the modes in which the subject is actor, albeit not author of her experiences. (shrink)

This introductory chapter gives an overview of the emergent field of Critical Transparency Studies. Moreover, it traces some genealogical lines of how, from the eighteenth century onwards, what was known in Antiquity as an optical and aesthetic phenomenon—diaphaneity—came to stand for central concerns in self-knowledge, morality and politics. Such an analysis of the historical semantics of transparency highlights the irreducible plurality of the phenomenon. Against tendencies of seeing transparency as a means of achieving self-coincidence, unicity and self-stability, the chapter sketches (...) an alternative understanding of transparency as diaphaneity and fleshes out the dynamic, transversal and often conflictual nature of sense, making way for a more comprehensive understanding of the contradictions of social existence. (shrink)

This book critically engages with the idea of transparency whose ubiquitous demand stands in stark contrast to its lack of conceptual clarity. The book carefully examines this notion in its own right, traces its emergence in Early Modernity and analyzes its omnipresence in contemporary rhetoric. Today, transparency has become a catchword outplaying other Enlightenment values like empowerment, sincerity and the notion of a public sphere. In a suspicious manner, transparency is entangled in the discourses on power, surveillance, and self-exposure. Bringing (...) together prominent scholars from the emerging field of Critical Transparency Studies, the book offers a map of the various sites at which transparency has become virulent and connects the dots between past and present. By studying its appearances in today’s hyper-mediated economies of information and by linking it back to its historical roots, the book analyzes transparency and its discontents, and scrutinizes the reasons why it has become the imperative of a supposedly post-ideological age. (shrink)

Viewing Vermeer with Merleau-Ponty's eyes.

This article is an attempt to circumscribe Georges Didi-Huberman’s inimitable practice of theory. It argues that Didi-Huberman’s ethics of looking represents a decided shift away from the traditional position of the critic as a dispassionate, objective observer. A Copernican revolution looms, which inverts the Kantian one: no longer are things adapting to their conceptual scheme, no longer is it the adaequatio rei ad intellectum, but its opposite. Didi-Huberman’s “discourse on method” is to be found in the book Phasmes, where such (...) an “inverted intentionality” is described in terms of the mimicry of the phasmid insects: instead of assimilating the environment to himself, the subject assimilates himself to the environment. Phasmid thinking is the thought of disparateness, i.e., of dis-paring. This means to un-learn or, as it were, to un-prepare oneself in order to see what we believed we were seeing and which we in fact saw precisely because we knew. In drawing comparisons to similar methodological considerations in Adorno’s “snuggling up to the object,” the article attempts to locate Didi-Huberman’s critical epistemology at the intersection of French and German intellectual traditions. (shrink)

For a long time, Gilbert Simondon’s work was known only as either a philosophy restricted to the problem of technology or as an inspirational source for Gilles Deleuze’s philosophy of difference. As Simondon’s thinking is now finally in the process of being recognized in its own right as one of the most original philosophies of the twentieth century, this also entails that some critical work needs to be done to disentangle it from an all too hasty identification with Deleuzian categories. (...) While both Simondon and Deleuze have made crucial contributions towards a theory of differential individuation that significantly diverges from other authors associated with French poststructuralism insofar as they insist on the dynamic and vital dimension of difference, they also differ on crucial points. Whereas Simondon sees the process of becoming as transductive amplification, Deleuze theorizes it as intensifying involution, leading to two notably distinct concepts of difference. (shrink)

Der Körper hat Konjunktur. Als ausgestellter, verfüg- und verführbarer begegnet er uns täglichim Übermaß. Es war nur eine Frage der Zeit, bis im Spiel der sich in den Wissenschafteneinander ablösenden turns auch ein corporeal (oder body) turn ausgerufen würde. Dabeibleibt im genannten turn der Gegenstand der Untersuchung nicht selten reduziert auf das, wasman im deutschen Sprachgebrauch »Körper« nennt: ein physisches Substrat, das wie ein Dingunter Dingen beschreibbar ist. Gegen diese Verkürzung stellt der Begri des »Leibes«,spätestens seit Edmund Husserl, eine präzise (...) theoretische Intervention in die wissenschaftlicheund philosophische Diskussion um Körper und Körperlichkeit dar: Dem objektiv beobachtbaren Körper, den wir haben, wird der lebendige Leib, der wir sind, gegenübergestellt. Diesem »Leib«, seiner Geschichte, seinen Varianten und seinem Versprechen gehen dieAutoren der vorliegenden Beiträge nach. Inhaltsübersicht Emmanuel Alloa/Thomas Bedorf/Christian Grüny/Tobias Nikolaus Klass: Einleitung I. Der Leibbegriff in der Phänomenologie Emmanuel Alloa / Natalie Depraz: Edmund Husserl – „Ein merkwürdig unvollkommenkonstituiertes Ding“ – Stefan Kristensen: Maurice Merleau-Ponty I – Körperschema undleibliche Subjektivität – Emmanuel Alloa: Maurice Merleau-Ponty II – Fleisch und Dierenz – David Espinet: Martin Heidegger – Der leibliche Sinn von Sein – Thomas Bedorf: EmmanuelLevinas – Der Leib des Anderen – Karel Novotný: Körper, Leib, Aektivität in Jan Pato č kasPhänomenologie der natürlichen Welt – Julia Scheidegger: Michel Henry – TranszendentaleLeiblichkeit – Jörg Sternagel: Bernhard Waldenfels – Responsivität des Leibes – Kerstin Andermann: Hermann Schmitz – Leiblichkeit als kommunikatives Selbst- und Weltverhältnis II. Zur Geschichte des Leibbegris Emmanuel Alloa: Archaische Leiblichkeit. Die griechische Antike und die Entdeckung desKörpers – Theresia Heimerl: Der Leib Christi und der Körper des Christen: Körper und Leib alszentrale Problemzonen des Christentums – Marc Rölli: Philosophische Anthropologie im 19. Jahrhundert – Zwischen Leib und Körper – Tobias Nikolaus Klass: Friedrich Nietzsche – Denkenam „Leitfaden des Leibes“ – Andreas Cremonini: Sigmund Freud – Der gelebte vs. derphantasmatische Leib – Uta Noppeney: Kurt Goldstein und Frederik Buytendijk – Der Leib-Begri in der organismischen Biologie – Volker Schürmann: Max Scheler und Helmuth Plessner– Leiblichkeit in der Philosophischen Anthropologie – Marion Lauschke: Ernst Cassirer und AbyWarburg – Kulturanthropologie III. Grenzen und Kritik des Leibbegris Christian Grüny: Theodor W. Adorno – Soma und Sensorium – Ulrich Johannes Schneider: Michel Foucault – Der Körper und die Körper – Burkhard Liebsch: Paul Ricoeur – Das leiblicheSelbst begegnet dem Widerstand des Anderen – Mirjam Schaub: Gilles Deleuze – Was weiß ein„Körper ohne Organe“ vom Leib? – Kathrin Busch: Jean-Luc Nancy – Exposition und Berührung– Shaun Gallagher: Embodiment: Leiblichkeit in den Kognitionswissenschaften – Marie-Luise Angerer: Gender und Performance – Ist leibliche Identität ein Konstrukt? – Thomas Bedorf/Selin Gerlek: Praxistheorien – Leibkörperliche Praktiken im Vollzug. (shrink)

Images have always stirred ambivalent reactions. Yet whether eliciting fascinated gazes or iconoclastic repulsion from their beholders, they have hardly ever been seen as true sources of knowledge. They were long viewed as mere appearances, placeholders for the things themselves or deceptive illusions. Today, the traditional critique of the spectacle has given way to an unconditional embrace of the visual. However, we still lack a persuasive theoretical account of how images work. -/- Emmanuel Alloa retraces the history of (...) Western attitudes toward the visual to propose a major rethinking of images as irreplaceable agents of our everyday engagement with the world. He examines how ideas of images and their powers have been constructed in Western humanities, art theory, and philosophy, developing a novel genealogy of both visual studies and the concept of the medium. Alloa reconstructs the earliest Western media theory—Aristotle’s concept of the diaphanous milieu of vision—and the significance of its subsequent erasure in the history of science. Ultimately, he argues for a historically informed phenomenology of images and visual media that explains why images are not simply referential depictions, windows onto the world. Instead, images constantly reactivate the power of appearing. As media of visualization, they allow things to appear that could not be visible except in and through these very material devices. (shrink)

Maurice Merleau-Ponty is widely recognized as one of the major figures of twentieth-century philosophy. The recent publication of his lecture courses and posthumous working notes has opened new avenues for both the interpretation of his thought and philosophy in general. These works confirm that, with a surprising premonition, Merleau-Ponty addressed many of the issues that concern philosophy today. With the benefit of this fuller picture of his thought, Merleau-Ponty and Contemporary Philosophy undertakes an assessment of the philosopher's relevance for contemporary (...) thinking. Covering a diverse range of topics, including ontology, epistemology, anthropology, embodiment, animality, politics, language, aesthetics, and art, the editors gather representative voices from North America and Europe, including both Merleau-Ponty specialists and thinkers who have come to the philosopher's work through their own thematic interest. (shrink)

“What we have learned from Saussure” affirms Merleau-Ponty “is that, taken singly, signs do not signify anything, and that each one of them does not so much express a meaning as mark a divergence of meaning between itself and other signs.” While it has often been stressed that Merleau-Ponty was arguably among the earliest philosophical readers of Saussure, the real impact of this reading on Merleau-Ponty’s thinking has rarely been assessed in detail. By focusing on the middle period – the (...) years between the publication of the Phenomenology of Perception and the abandonment of the book project The Prose of the World – a special interest in language and its ideality becomes all the more evident. Now this period is crucial for understanding the turn of the later years: similarly to Saussure, who shifted the problem of meaning from a problem of referentiality to an issue of self-differentiation of the linguistic field, Merleau-Ponty shifts his account of perception from a relationship based on sensory subjects and perceived objects to an immanent differentiation of the sensible world. The genesis ofan articulated world can be conceptualized with the experience of children’s language acquisition and the phenomenon of “deflation.” At a certain point in her development, the child interrupts her incessant babbling and learns to shape pauses and silences, which are the precondition for meaningful sounds. Learning how to speak – as it were – would thus be learning how not to speak. The child may only enter a specific language by means of a phonematic restriction; to become a member of a language community is to lose the capacity to speak all languages. (shrink)

The demand for more transparency is hardly ever questioned. When it is, it is generally questioned in the name of a protection of privacy. In a traditional liberal understanding, there is a non-alienable “right to privacy” (Warren/Brandeis, 1890). Many political struggles, however, involved ignoring such boundaries, and making public things that were meant to remain private (domestic violence, gender oppression, child abuse etc.). While holding that the distinction between private and public is necessary, it must remain mobile and subject to (...) renegotiation. Civil inattention highlights the importance of disregarding: disregarding what others we share the same public space with do, as long as it is not of public relevance; and disregarding such rules of privacy if a violation of basic human rights is taking place, in order to make such behaviour public. In some cases, disregard and ignorance can thus be a moral virtue. (shrink)

« C’est une question de point de vue… » On associe aujourd’hui la perspective à l’individualisme, à l’affirmation d’une vérité privée et indépassable. C’est oublier la tradition de la perspectiva communis, celle qui fait de la perspective le vecteur d’un horizon commun. Au croisement de la science, de l’art et de la philosophie, le livre exhume une tradition que l’on se doit de redécouvrir : le point de vue, ce n’est pas seulement ce qui divise, c’est aussi ce qui se (...) partage. Au lieu d’incriminer le perspectivisme d’avoir fait le lit de la post-vérité, et de la perte d’une référence à un monde réel, il est temps de retrouver en quoi la perspective n’est pas qu’une affaire de relativisation, mais de réalisation. C’est à la perspective que nous devons notre perspicacité : « à travers » – voilà le mot-clé pour comprendre son opération. Une mise en regard d’enjeux anciens et contemporains, où s’entrecroisent les arts visuels, l’architecture, la phénoménologie et l’anthropologie sociale. Autant de manières de faire l’éloge d’une perspective qui se décline invariablement au pluriel. (shrink)

It is all the rage today to speak about the “powerµ of images. Yet while it seems hardly disputable that images generate fascination or repulsion and that they provoke laughter, tears or delight, it is by no means clear what it entails to grant them an agency of their own. The article sets out to chart the current literature on the topic, and to indicate why it is not the same to ask what it means for images to do things (...) to us and what it means do things with images. While the former question often leads, under a disguise of object-oriented thinking, to reintroduce mentalism, the latter gets caught up in inextricable problems that Austin’s speech act theory already had to struggle with. In the last section, at alternative account is proposed: the performance of image is not an event of causation, it is a process of visualization that lets appear what can only appear in images. (shrink)

Aunque fueron muchos los intentos en la modernidad de superar el dualismo cuerpo y mente, las teorías filosóficas del lenguaje en muchos casos lo reintrodujeron de manera sutil pero no menos eficaz. El artículo discute varios teoremas para pensar la materialidad del signo y muestra la preponderancia, desde Kierkegaard hasta el estructuralismo post-Saussuriano, de pensar la materialización como algo necesario, pero arbitrario en su modalidad. En esta concepción, el cuerpo del lenguaje no es solamente aquello que se puede sino aquello (...) que se debe poder modificar: la corporalidad de la expresión es lo que debe poder ser absolutamente sustituible para conservar la unidad del sentido. Sin embargo, en muchos casos, el sentido emerge precisamente de la singularidad insustituible, de la configuración de los signos en la poesía o de la gestualidad inimitable del actor. El articulo argumenta en favor de introducir, en esta discusión, la distinción fenomenológica entre Kó'rper y Leib, que - como Husserl sugirió - también puede pueden pensarse según la diferencia entre lo representable y lo irrepresentable, entre lo que no tiene papel constituyente y que desde luego puede ser sustituido, y lo que permite ser representado por otro porque es insustituible. Although in the modern age there were plenty of attempts to overcome the mind-body dualism, its philosophical theories of languages reintroduced it in a subtle but not less effective way. In this article several theorems to think on the materiality of the sign are discussed, and the preponderance, from Kierkegaard to the post-Saussurean structuralism, of thinking the materialization as something necessary but arbitrary in its modality, is shown. The body of language under this understanding is not only that which can be modified, but that which must be modifiable: the corporeality of the utterance must be substitutable in order to preserve the unit of meaning. Nevertheless, in many cases, the meaning comes precisely from the unsubstitutable singularity, from the configuration of the signs in poetry or from the inimitable actor's gestures. The article argues for introducing in this discussion the phenomenological distinction between Kórper and Leib, which - as Husserl suggested - may also be thought from the difference between the representable and the irrepresentable, between what does not have a constituent role and hence can be substituted, and what allows to be represented by another because it is unsubstitutable. (shrink)

In recent years, the claim of the unrepresentability of the Shoah has stirred vivid debates, especially following the strong positions taken by the French filmmaker Claude Lanzmann and author of Shoah (1986). This claim of unrepresentability, it can be shown, draws part of its attraction from the fact that it oscillates undecidedly between a claim of logical impossibility (“the Shoah can’t be represented”) and a normative demand (“the Shoah shouldn’t be represented”). This essay analyzes the argumentative structure of the advocates (...) of the unrepresentability and shows why the often made connection to Kant is flawed. Although his Critique of the Power of Judgment affirms indeed that the prohibition of representation is the “perhaps most sublime passage in the Jewish Law”, turning the prohibition of representation into a supposedly Kantian claim does not hold grounds. The essay reconstructs the political framework of the debate, situates the Kantian passage in its precise philosophical context and then successively assesses the main arguments put forward by Jean-Luc Nancy, Jacques Rancière and Georges Didi-Huberman in their critique of Lanzmann’s categorical imperative. While showing why the rhetoric of the “unrepresentable” bear troubling structural analogies to what they want to fight (i.e. the politics of erasure, which always also include the erasure of the traces of erasure), a certain notion of the “unrepresentable” is rescued nevertheless at the end of the essay. Representation, so it is argued by returning to a Kantian distinction, is not a matter of Kanon, but a matter of Organon, which then puts the debate about the Sublime (which took place between Lyotard and Rancière in the 90’s) into a new perspective. (shrink)

A simplistic image of twentieth century French philosophy sees Merleau-Ponty’s death in 1961 as the line that divides two irreconcilable moments in its history: existentialism and phenomenology, on the one hand, and structuralism on the other. The structuralist generation claimed to recapture the dimension of objectivity and impersonality, which the previous generation was supposedly incapable of. As a matter of fact, in 1962, Derrida’s edition of Husserl’s The Origin of Geometry was taken to be a turning point that announced the (...) structuralist revolution by introducing a reflection on the historicity and the materiality of impersonal idealities. And yet, the 1998 publication of Merleau-Ponty’s notes from his Collège de France lecture course on the same topic make manifest that he was already taking phenomenology in another direction. His 1959 reading of The Origin of Geometry shows how unexpectedly close the early Derrida is to the late Merleau-Ponty. By identifying the tension between archaeology and teleology as the basic problem of Husserlian phenomenology, Merleau-Ponty and Derrida each disclose the fundamental importance of history and of writing. Comparing the two readings in their specific context not only brings about a more complex picture of the intellectual debates of the time, but also shows how, with Merleau-Ponty’s interpretation of The Origin of Geometry, Derrida’s “différance” predates itself and receives another genealogy. (shrink)

Dass Bilder zwischen dem Regime der Dinge und dem Regime der Zeichen niemals einen angestammten Platz erhielten und nicht Gegenstand einer eigenen Wissenschaft wurden, ist keinem wiedergutzumachenden Vergessen geschuldet, sondern Ausdruck eines anfänglichen Skandalons, das historisch auch die Geburtsstunde der Philosophie einläutete. Bilder lassen sich nicht einmal als reine Erscheinungen absondern, weil in ihnen als Wasserzeichen stets durchscheint, was sie sichtbar werden ließ. An Husserls Grundlegung einer Phänomenologie des Bildes lässt sich das obstinate Unterfangen verfolgen, die Bilderscheinung von jeder medialen (...) Kontamination freizuhalten. Emmanuel Alloas Archäologie der Medienvergessenheit legt jenes Doppelparadigma frei, das die westliche Tradition seit Anbeginn begleitet – Transparenz und Opazität – und sich vor jenen Begriff schiebt, den es zu übersetzen beanspruchte: In der aristotelischen Wahrnehmungstheorie bezeichnet das Diaphane die Fähigkeit eines Mediums, die Form von etwas anzunehmen, ohne es zu sein. Auf unerwartete Weise wird durch Aristoteles’ Lehre vom Diaphanen erhellt, worin die Macht von Bildern liegt. (shrink)

In the early 1990s, W.J.T. Mitchell and Gottfried Boehm independently proclaimed that the humanities were witnessing a ‘pictorial’ or ‘iconic turn’. Twenty years later, we may wonder whether this announcement was describing an event that had already taken place or whether it was rather calling forth for it to happen. The contemporary world is, more than ever, determined by visual artefacts. Still, our conceptual arsenal, forged during centuries of logocentrism, still falls behind the complexity of pictorial meaning. The essay has (...) two parts. In the first, it tries to assess the exact meaning of the ‘pictorial’/’iconic turn’, and (re)places it into the context of Anglo-American visual studies and German Bildwissenschaften. It the second, it addresses the famous claim by the philologist Ernst Robert Curtius that ‘image sciences are easy’ by advocating for three ‘turns of the screw’ to make visual studies more difficult: a shift from iconology to symptomatology, a shift from extensive to intensive and a shift from the indicative to the subjunctive. (shrink)

In the constitution of contemporary image theory, Ludwig Wittgenstein’s philosophy has undoubtedly become a major conceptual reference. Rather than trying to establish what Wittgenstein’s own image theory could possibly look like, this paper would like to critically assess some of the advantages as well as some of the quandaries that arise when using Wittgenstein’s concept of ‘seeing-as’ for addressing the plural realities of images. While putting into evidence the tensions that come into play when applying what was initially a theory (...) of the gaze to a theory of the image, the paper shall subsequently discuss three modes of iconic vision: the propositional seeing-as, the projective seeing-in and the medial seeing-with. (shrink)

In 20th century thinking, few concepts have provoked as many misunderstandings as Merleau-Ponty’s notion of ‘Flesh’. Such misunderstandings (of which the article sketches the outline of an archaeology) rest on the initial assumption that the Flesh has to be derived from the body. The article suggests that the dominant readings of the Flesh can be organized along what could respectively be called the scenario of propriety and the scenario of expansion, beyond which a third way comes into view which does (...) not think Flesh as plenitude, but as an interstitial fabric. In this sense, the genesis of the last ontology of the Flesh is neither to be found in Husserl or in a simple anti-Sartrianism, but in a fecund and still underestimated reading of Saussure’s notion of the diacritics. The ontological turn of the last writings can thus only be understood on the grounds of the expressive turn from the intermediate period. (shrink)

The paper takes heed of the fact that, when evaluating normative issues through the semantics of visibility and invisibility, a transfer takes place from optical to political semantics which is not without consequences. The paper attempts a typology of the extremely diverse functions (in)visibility takes in current discourses, moving from the characterization of situations of discrimination to that of the resistance to it. In a first step, it analyses the affirmative uses of the notion of political visibilisation, whether of individuals, (...) groups or concerns, that fashion themselves as targeted answers to discrimination. In a second step, it looks at the politics of invisibilisation, stealth, and opaqueness, claiming emancipatory and critical potential in resisting the limelight of public space. Specifically, it assesses whether the traditional connect of politicization and public visibility still holds true in all cases. In a third part, the paper suggests a possible reorganization of the polarity of visibility and invisibility as one that runs along the continuum between determinacy and indeterminacy, indicating its effects for patterns of discrimination as well as for practices of resistance. (shrink)

Recent debates about aesthetics are characterized by a partly intentional, but also partly involuntary, vagueness. Whether it be aestheticisation or anesthetisation, articisation or desartification: what is upheld or deplored under one and the same label in fact designates rather different things. The paper makes a suggestion as to how the field could be reorganized. Taking heed of what political theory discusses as the “political difference” between “politics” and “the political”, the aim is to examine what would be gained by working (...) with an “aesthetic difference” that does not straightforwardly equate “the aesthetic” with “art”, and “the aesthetic” with the totality of sensuous-aisthetic processes. An aesthetic thinking would then amount to a thinking that does justice to these inner polarities and remains faithful to the ambiguity of its objects. (shrink)

Au XVIII e siècle, Jeremy Bentham avait imaginé un dispositif carcéral où les détenus seraient surveillés par un gardien omni-voyant. Dans le panoptique digital, nous ne sommes plus de simples détenus, mais participons activement à son façonnement. Personne ne semble s’en émouvoir outre mesure. Il n’y a pas si longtemps encore, en Allemagne les gens montaient sur les barricades contre le recensement démographique d’État : cette époque semble bien lointaine, au vu de notre inclination à partager toutes nos données avec (...) les appareils de capture de l’hypercapitalisme. (shrink)

Les deux textes de Husserl que nous présentons ici en traduction, l’un daté vraisemblablement de 1932 et l’autre de septembre 1926, tournent autour du problème du monde et de son accès, de sa normalité ainsi que de ses variations possibles.

The article explores the striking coincidences in Heidegger's and Blanchot's account of the image as death mask. The analysis of the respective theories of the image brings forth two radically divergent conceptions of thinking as "laying patent" (Heidegger) and of thinking as "laying bare" (Blanchot).

Erwin Panofsky’s essay “Perspective as Symbolic Form” from 1924 is among the most widely commented essays in twentieth-century aesthetics and was discussed with regard to art theory, Renaissance painting, Western codes of depiction, history of optical devices, psychology of perception, or even ophthalmology. Strangely enough, however, almost nothing has been written about the philosophical claim implicit in the title, i.e. that perspective is a symbolic form among others. The article situates the essay within the intellectual constellation at Aby Warburg’s Kulturwissenschaftliche (...) Bibliothek in Hamburg, and analyzes the role of Ernst Cassirer’s philosophy of symbolic forms for the members of the Warburg circle. Does perspective meet the requirements for becoming a further “symbolic form,” beyond those outlined by Cassirer? The article argues that, ultimately, perspective cannot possibly be a symbolic form; not because it does not meet Cassirer’s philosophical requirements, but rather, because that would uproot Cassirer’s overall project. While revisiting Panofsky with Cassirer unearths the wide-raging philosophical implication of the essay, revisiting Cassirer with Panofsky means to highlight the fundamentally perspectival nature of all symbolic forms. (shrink)

Problématisation, individuation, (dés)adaptation L’inventivité du vivant : la « disparation » Mouvements à vide. La spontanéité selon Simondon La prégnance des images Ontogenèse, phylogenèse, eikogenèse. L’image comme médiation .

Plusieurs générations de chercheurs internationaux interrogent l’esthétique de Merleau-Ponty suivant deux axes : d’une part, le dialogue constant et passionné avec des arts (peinture, littérature, cinéma) et ses protagonistes (Cézanne, Proust, Claude Simon) qui est à l’origine de l’esthétique de Merleau-Ponty, et dans d’autre part, l’impact de la pensée merleau-pontienne sur les arts, depuis le Minimal Art américain en passant par le Body Art et la danse contemporaine. Tandis que certaines contributions s’intéressent, en s’appuyant sur les inédits, au rapport jusqu’ici (...) moins étudié que Merleau-Ponty entretenait avec la musique, mais aussi avec la photographie, d’autres contributions jaugent l’héritage merleau-pontien dans des arts sur lesquels il n’a pas lui-même écrit (la sculpture, la danse ou le théâtre). Ce volume propose donc une première synthèse générale du rapport de Merleau-Ponty aux arts, tout en en indiquant les lignes de fuite et les horizons qui en font aujourd’hui, cinquante ans après sa mort, toute l’actualité. -/- Contributions d’Emmanuel Alloa, Ronald Bonan, Fabrice Bourlez, Mauro Carbone, Lambert Dousson, Eliane Escoubas, Barbara Formis, Paule Gioffredi, Adnen Jdey, Stefan Kristensen, Rosamaria Salvatore, Jenny Slatman, Bernhard Waldenfels, Benedetta Zaccarello. (shrink)

Promettant à la fois la capture de l’instant et son dépassement vers l’intemporel, le medium photographique voit son destin intimement lié à la catégorie du temps. L’article suggère cependant que cette inclusion du temps dans l’image s’est acquise, au cours de l’histoire de la photographie, au prix d’une essentialisation du momentané. À rebours d’une telle approche, il s’agit de repenser l’instantané photographique comme découlant de l’accident, si bien que la photo figure non plus l’instant fécond, mais bien le temps de (...) l’accident, qui correspond, dans tous les sens du terme, à un arrêt de mort. (shrink)

Derrière un seul et même mot – l’« esthétisation » – se cachent des constats que tout ou presque sépare. Peu étonnant que les différents débats autour de cette notion, en France, en Allemagne ou aux États-Unis, aient souvent engendré des incompréhensions mutuelles. Avant même de savoir si l’esthétisation du monde est un phénomène désirable ou condamnable, il faut éclairer les arrière-plans conceptuels qui orientent ce diagnostic, et qui lui confèrent un sens parfois diamétralement opposé. En ouverture du dossier, l’article (...) entreprend de faire la généalogie de ces débats, avec trois moments-clés – le moment 1800, l’entre-deux-guerres (1919-1939), et enfin les années post -68 (1970-1990). Il propose ensuite une typologie pour s’orienter dans ces débats et comparer les quatre versions de ce qu’« esthétisation » peut vouloir dire. (shrink)