Pure representationalism or intentionalism for phenomenal experience is the theory that all introspectible qualitative aspects of a conscious experience can be analyzed as qualities that the experience non-conceptually represents the world to have. Some philosophers have argued that experiences such as afterimages, phosphenes and double vision are counterexamples to the representationalist theory, claiming that they are non- representational states or have non-representational aspects, and they are better explained in a qualia-theoretical framework. I argue that these states are fully (...) representational states of a certain kind, which I call “automatically non-endorsed representations”, experiential states the veridicality of which we are almost never committed to, and which do not trigger explicit belief or disbelief in the mind of the subject. By investigating descriptive accounts of afterimages by two qualia theorists, I speculate that the mistaken claims of some anti-representationalists might be rooted in confusing two senses of the term “seeming”. (shrink)

Hamlet tells Horatio that there are more things in heaven and earth than are dreamt of in his philosophy. In Double Vision, philosopher and literary critic Tzachi Zamir argues that there are more things in Hamlet than are dreamt of--or at least conceded--by most philosophers. Making an original and persuasive case for the philosophical value of literature, Zamir suggests that certain important philosophical insights can be gained only through literature. But such insights cannot be reached if literature is (...) deployed merely as an aesthetic sugaring of a conceptual pill. Philosophical knowledge is not opposed to, but is consonant with, the literariness of literature. By focusing on the experience of reading literature as literature and not philosophy, Zamir sets a theoretical framework for a philosophically oriented literary criticism that will appeal both to philosophers and literary critics. Double Vision is concerned with the philosophical understanding induced by the aesthetic experience of literature. Literary works can function as credible philosophical arguments--not ones in which claims are conclusively demonstrated, but in which claims are made plausible. Such claims, Zamir argues, are embedded within an experiential structure that is itself a crucial dimension of knowing. Developing an account of literature's relation to knowledge, morality, and rhetoric, and advancing philosophical-literary readings of Richard III, Macbeth, Romeo and Juliet, Othello, Antony and Cleopatra, Hamlet, and King Lear, Zamir shows how his approach can open up familiar texts in surprising and rewarding ways. (shrink)

In his paper “Double Vision, Phosphenes and Afterimages: Non-Endorsed Representations rather than Non-Representational Qualia,” Işık Sarıhan addresses the debate between strong representationalists and qualia theorists. He argues that qualia theorists like Ned Block and Amy Kind who cite double-vision, afterimages, etc., as evidence for the existence of qualia are mistaken about the actual nature of these states. According to Sarıhan, these authors confuse the fact that these states are non-endorsed representational states with the fact that they (...) are at least partly non-representational. I argue that Sarıhan’s argument contains gaps that suggest that he misidentifi es the mistake that leads these qualia theorists to their conclusion. In my view, these qualia theorists do not confuse the fact that the states in question are non-endorsed states with the fact that they are non-representational, but rather mistake certain representational contents, or certain aspects of these contents, for qualia. (shrink)

Much of The Reason’s Proper Study is devoted to defending the claim that simply by stipulating an abstraction principle for the “number-of” functor, we can simultaneously fix a meaning for this functor and acquire epistemic entitlement to the stipulated principle. In this paper, I argue that the semantic and epistemological principles Hale and Wright offer in defense of this claim may be too strong for their purposes. For if these principles are correct, it is hard to see why they do (...) not justify platonist strategies that are not in any way “neo-Fregean,” e.g. strategies that treat “the number of Fs” as a Russellian definite description rather than a singular term, or employ axioms that do not have the form of abstraction principles. (shrink)

This article argues that the distinction between the sensible and the intelligible in Plato’s dialogues (here with respect to the Republic) is not a dogmaticassertion or the foundation for a set of doctrines, but is rather the very starting point of philosophical activity. This starting point will be shown to be, in its most fundamental aspect, not something chosen by the philosopher, but rather the attribute that makes the philosopher who he is. Much of my argument will turn on a (...) consideration of the divided line. In Part I, I situate the discussion of the divided line within both its global and immediate context in the Republic. As the divided line will serve as the focal point of my argument it is important to clarify its place in Socrates’ discussion with Glaucon and Adeimantus from the outset of my presentation. Part II consists of a brief analysis of the key passages devoted to the divided line. This analysis will culminate by highlighting the problematic nature of geometrical objects with respect to the schema of the line. I will argue that geometrical objects have no secure place on the line. This insecurity will call into question the apparent continuity between the sensible and the intelligible that the divided line suggests, and might call for a way to mediate or bridge the gap between the sensible and the intelligible. In Part III, I consider one such attempt in Proclus’s commentary on Euclid in order to show how such an attempt failson Platonic terms and thus cannot constitute the true core of Platonic philosophy. Part IV will argue that if rightly interpreted the divided line itself offers a solution to the problem and clarifies both the nature of philosophical activity and the status of the sensibility/intelligibility distinction within Platonic philosophy. (shrink)

This article argues that the distinction between the sensible and the intelligible in Plato’s dialogues (here with respect to the Republic) is not a dogmaticassertion or the foundation for a set of doctrines, but is rather the very starting point of philosophical activity. This starting point will be shown to be, in its most fundamental aspect, not something chosen by the philosopher, but rather the attribute that makes the philosopher who he is. Much of my argument will turn on a (...) consideration of the divided line. In Part I, I situate the discussion of the divided line within both its global and immediate context in the Republic. As the divided line will serve as the focal point of my argument it is important to clarify its place in Socrates’ discussion with Glaucon and Adeimantus from the outset of my presentation. Part II consists of a brief analysis of the key passages devoted to the divided line. This analysis will culminate by highlighting the problematic nature of geometrical objects with respect to the schema of the line. I will argue that geometrical objects have no secure place on the line. This insecurity will call into question the apparent continuity between the sensible and the intelligible that the divided line suggests, and might call for a way to mediate or bridge the gap between the sensible and the intelligible. In Part III, I consider one such attempt in Proclus’s commentary on Euclid in order to show how such an attempt failson Platonic terms and thus cannot constitute the true core of Platonic philosophy. Part IV will argue that if rightly interpreted the divided line itself offers a solution to the problem and clarifies both the nature of philosophical activity and the status of the sensibility/intelligibility distinction within Platonic philosophy. (shrink)

When we look at a tree, two images of it are formed, one on each of our retinas. Why, then, asks the child or the philosopher, do we not see two trees?1 Thomas Reid offers an answer to this question in the section of his Inquiry into the Human Mind entitled ‘Of seeing objects single with two eyes’. The principles he invokes in his answer serve at the same time to explain why we do occasionally see objects double. In (...) Part I of this essay, I examine the principles Reid uses to explain single and double vision. This part is mostly an exercise in the history of cognitive science, but it raises questions of interest to philosophers along the way. In Part II, I turn to a hard-core philosophical problem raised by double vision, namely, whether double vision constitutes an objection to the direct realist theory of perception, which was one of Reid's main philosophical purposes to promote. (shrink)

Cumming (2008) argues that his Masked Ball problem undermines Millianism, and that we must instead treat names as variables. However, although the Masked Ball does pose a problem for the Millian given a standard view about the meaning of `believes', that view faces difficulties for independent reasons. I develop a novel ``neo Kaplanian'' attitude semantics to address this problem, and go on to show that with this alternative semantics in hand, the Millian is quite capable of accounting for the Masked (...) Ball. (shrink)

In a recent article on Reid’s theory of single and double vision, James Van Cleve considers an argument against direct realism presented by Hume. Hume argues for the mind-dependent nature of the objects of our perception from the phenomenon of double vision. Reid does not address this particular argument, but Van Cleve considers possible answers Reid might have given to Hume. He finds fault with all these answers. Against Van Cleve, I argue that both appearances in (...) double vision could be considered visible figures of the object, and show how this solution might preserve Reid’s direct realism. However, this solution is not compatible with the single appearance of an object predicted by Reid’s theory of single and double vision. This consequence will appear evident once we consider the critique of Reid’s theory of single and double vision formulated by William Charles Wells (1757-1817). Wells argues that Reid’s theory is either incomplete or incompatible with other claims made by Reid. It is incomplete since it fails to specify the unique direction in which we the object in single vision; if it not incomplete and is compatible with the law of monocular direction given by Reid, then it is incompatible with Reid’s claim that we do not perceive immediately distance by sight. (shrink)

In issue 6.1 of the Journal of Scottish Philosophy, James Van Cleve describes Thomas Reid's understanding of double vision and then presents a challenge to his direct realism found in works of David Hume based on double vision. The challenge is as follows: When we press one eye with a finger, we immediately perceive all the objects to become double, and one half of them to be remov'd from their common and natural position. But as (...) we do not attribute a continu'd existence to both these perceptions, and as they are both of the same nature, we clearly perceive, that all our perceptions [i.e., all the things we perceive] are dependent on our organs, and the disposition of our nerves and animal spirits. (THN: 210–211). (shrink)

In Treatise 1.4.2, David Hume seeks to explain how we come to believe in the external existence of bodies. He offers a complicated psychological account, where the imagination operates on the raw data of the senses to produce the ‘vulgar’ belief in the continued existence of the very things we sense. On behalf of philosophers, he presents a perceptual relativity argument that purports to show that the vulgar belief is false. I argue that scholars have failed to appreciate Hume's peculiar (...) formulation of the perceptual relativity argument and its relation to his psychological account of the vulgar belief. On my interpretation, in order to account for all the premises that Hume explicitly offers, the argument is best interpreted as beginning with a reductio that opposes the effects of the senses and the imagination in the vulgar belief. Thus Hume can be interpreted as identifying an ‘antinomy’ in the habits of the vulgar mind that produce belief in bodies. (shrink)

This review of Matthew Lipman’s autobiography, A Life Teaching Thinking, is a reflection on the themes and patterns of his extraordinarily productive career. His book begins with memories of earliest childhood and his preoccupation with the possibility of being able to fly, moves through the years in which his family struggled with the effects of the Great Depression, through his service in the military during World War II, his discovery of the joy and beauty of philosophy, his academic rise at (...) Columbia University, his Fullbright sojourn in Paris, and his early and later career. Lipman’s educational project led in four related directions: the practice of philosophy for children, which he invented, and which presents an epistemological challenge to a second field, philosophy of education, which is as startling as was Rousseau’s two hundred years before. Third, it led to a realm of theory called philosophy of childhood, upon which the practice of philosophy for children is a kind of action-meditation, prompting adults as it does to reflect on children’s differences from and similarities to adults at the same time, and in the same discursive space. Finally, his praxis also implicitly challenged those accounts of children’s philosophies, paradigmatically represented by Piaget’s work, which represent childhood epistemology as evidence for various genetic and epigenetic stage-based theories of cognitive development. The consequence for education of this confluence was a methodology—community of inquiry—that serves as a bridge between the two most influential philosophers of education of the 20th century—John Dewey and Paulo Freire. The educational praxis that emerged from his venture, for all its apparent simplicity, operationalizes a postcolonial standpoint epistemology vis a vis childhood and children, pulls the linchpin that holds in place the school as ideological state apparatus, and empowers the elementary classroom as a primary site for democratic theory and practice. (shrink)

Anything worth regarding as logicism about number theory holds that its fundamental laws – in effect, the Dedekind-Peano axioms – may be known on the basis of logic and definitions alone. For Frege, the logic in question was that of the Begriffschrift – effectively, full impredicative second order logic - together with the resources for dealing with the putatively “logical objects” provided by Basic Law V of Grundgesetze. With this machinery in place, and with the course-of-values operator governed by Basic (...) Law V counting as logical, it is possible for all the definitions involved in the logicist reconstruction of arithmetic and analysis to be fully explicit, abbreviative definitions. Had Frege’s project succeeded, he would therefore have been in position – by his own lights – to regard the axioms of number theory simply as definitional abbreviations of certain theorems of his pure logic. Basic Law V, as every interested party knows, is inconsistent. But twentieth century orthodoxy would have scorned its description as a law of logic in any case, purely on the grounds of its existential fecundity. Contemporary Neo-Fregeanism in the foundations of mathematics does not, in intention at least, pick any quarrel with the idea that pure logic should be ontologically austere. It does however maintain that the existence of the natural numbers and the real numbers as classically conceived, and thereby the truth of the traditional axioms of arithmetic and analysis, may still be known a priori on the basis of logic and definitions. For the purposes of this claim, logic is once again conceived as essentially the system of Begriffschrift. But Basic Law V is superseded by a variety of abstraction principles, of which Hume's Principle is the best known example, which we are regarded as free to lay down as true by way of determination of the meaning of the non-logical vocabulary that they contain. Thus — the idea is — the Dedekind-Peano axioms, for example, may be known, a priori, to be true by virtue of their derivation in pure logic from a principle which may be regarded as stipulatively true, and whose very stipulation may be regarded as conferring content upon the sole item of non-logical vocabulary – the cardinality operator – which it contains and thereby as conferring content upon Hume's Principle itself.. (shrink)

Far from being haphazard, Merleau-Ponty’s 1945 essay on cinema and 1953 notes on cinema for the lectures at the Collège de France are a precursor of a genuine phenomenology of cinema. Accordingly, in this paper I shall demonstrate that a phenomenology of movement and space tacitly appears in films, since cinema is the art of motion on screen and therefore the art of intersubjectivity par excellence. Moreover, I show that Merleau-Ponty’s ontological conception of the chiasm between the visible and the (...) invisible resembles the interlacing of the “two spaces” mentioned by Noël Burch. Likewise, the interpretation of the world as the “something else” that is simultaneously present and absent in every appearance corresponds, in cinema, to Alain Bergala’s “présence in absentia” of the off-screen on the screen – i.e., to the opening up of off-screen space by means of eyeline match and characters exiting and entering the frame. I finally claim that the use both of long take and depth of field, as analysed by film theorist André Bazin, and of specific camera movements, as analysed by neuroscientist Vittorio Gallese, preserves the continuity of reality and give the impression that the film is a perceptual experience that happens within reality’s space-time continuum.Loin d’être incohérent, l’essai de 1945 de Merleau-Ponty sur le cinéma et ses notes sur le cinéma pour son cours au Collège de France en 1953 sont les précurseurs d’une vraie phénoménologie du cinéma. Dans ce texte, je démontre qu’une phénoménologie du mouvement et de l’espace apparaît tacitement dans les films puisque le cinéma est l’art du mouvement à l’écran et par conséquent l’art de l’intersubjectivité par excellence. Par ailleurs, je montre que la conception ontologique de Merleau-Ponty du chiasme entre le visible et l’invisible ressemble à l’entrelacement des « deux espaces » mentionnés par Noël Burch. De même, l’interprétation du monde comme le « quelque chose d’autre » simultanément présent et absent dans toute apparition correspond, au cinéma à la « présence in absentia » du hors champ dans le champ d’Alain Bergala – à savoir l’ouverture de l’espace du hors champ par la technique du eyeline match et des personnages qui entrent et sortent du cadre. Je soutiens enfin que l’usage à la fois du plan long et de la profondeur de champ, analysés par le théoricien du cinéma André Bazin, ainsi que de mouvements spécifiques de caméra, analysés par le neuroscientifique Vittorio Gallese, préserve la continuité de la réalité et donne l’impression que le film est une expérience perceptive qui se produit à l’intérieur du continuum de l’espace temps de la réalité.Lungi dall’essere interventi estemporanei, i saggi di Merleau-Ponty sul cinema del 1945 e le sue note sul cinema per il corso al Collège de France del 1953 sono precursori di un’autentica fenomenologia del cinema. In questo articolo intendo mostrare come nei film si delinei tacitamente una fenomenologia del movimento e dello spazio, poiché il cinema è l’arte del movimento sullo schermo e per eccellenza l’arte dell’intersoggettività. Inoltre, intendo mettere in luce come la concezione ontologica merleau-pontyana del chiasma di visibile e invisibile si accosti all’intreccio dei “due spazi” menzionati da Noël Burch. In modo analogo, considererò l’interpretazione del mondo come il “qualcos’altro” che è al contempo presente e assente in ogni apparizione come corrispondente, nel cinema, a quella che Alain Bergala definisce la presenza “in absentia” del fuori campo sullo schermo, ossia all’apertura dello spazio fuori campo per mezzo del raccordo sullo sguardo e dell’ingresso e dell’uscita dei personaggi rispetto all’inquadratura. Infine, sosterrò che tanto l’impiego del long take e della profondità di campo, descritti dal teorico del cinema André Bazin, quanto l’uso di specifici movimenti di macchina, analizzati dal neuroscienziato Vittorio Gallese, preservino la continuità del reale e forniscano l’impressione che il film sia un’esperienza percettiva che si svolge entro il continuum spazio-temporale della realtà. (shrink)

Visual disturbances are amongst the most commonly reported symptoms after a traumatic brain injury despite vision testing being uncommon at initial clinical evaluation. TBI patients consistently present a wide range of visual complaints, including photophobia, double vision, blurred vision, and loss of vision which can detrimentally affect reading abilities, postural balance, and mobility. In most cases, especially in rural areas, visual disturbances of TBI would have to be diagnosed and assessed by primary care physicians, who (...) lack the specialized training of optometry. Given that TBI patients have a restricted set of visual concerns, an opportunity exists to develop a screening protocol for specialized evaluation by optometrists—one that a primary care physician could comfortably carry out and do so in a short time. Here, we designed a quick screening protocol that assesses the presence of core visual symptoms present post-TBI. The MOBIVIS protocol takes on average 5 min to perform and is composed of only “high-yield” tests that could be performed in the context of a primary care practice and questions most likely to reveal symptoms needing further vision care management. The composition of our proposed protocol and questionnaire are explained and discussed in light of existing protocols. Its potential impact and ability to shape a better collaboration and an integrative approach in the management of mild TBI patients is also discussed. (shrink)

In a crucial passage in the Republic found within a discussion of women’s role in the ideal polis, division of eidē is identified as necessary for dialectic. A careful consideration of the way division is described in this passage reveals that it resembles the procedure of division described in the Phaedrus and the Sophist and that this procedure, when carried out correctly, is central to dialectic according to the Republic and helps set dialectic apart from eristic. Consideration of additional passages (...) in the Republic indicates that division may be employed on different kinds of entities, such as virtues and types of human natures; for according to the argument of the Republic, the correct use of division for the purpose of distinguishing types of human natures or virtues, entities that to the untrained eye may look alike but are distinct by nature, is required for achieving the knowledge philosophers and philosopher-rulers need. In fact, correctly performed divisions help the dialectician to bring into focus a subject matter under consideration in a kind of double-vision that reveals that matter as a concrete phenomenon that exhibits participation in different eidê when it is considered from different points of view. (shrink)

This article looks at the way Matthew Weiner deploys double vision in his historical re-imagination of the 1960s in Mad Men. At issue is both the way the past haunts the present on the diegetic level in the form of flashback sequences, as well as the way Weiner performs simultaneity by virtue of parallel editing, especially in the closing sequences of individual episodes. At issue also is the way stock footage of key historical events such as the moon (...) landing is deployed so as to offer a further juxtaposition of present and past. (shrink)

This article looks at the way Matthew Weiner deploys double vision in his historical re-imagination of the 1960s in Mad Men. At issue is both the way the past haunts the present on the diegetic level in the form of flashback sequences, as well as the way Weiner performs simultaneity by virtue of parallel editing, especially in the closing sequences of individual episodes. At issue also is the way stock footage of key historical events such as the moon (...) landing is deployed so as to offer a further juxtaposition of present and past. (shrink)

La description de la vision intervient dans le Timée en 45b-47b, suivant une double perspective caractéristique de ce dialogue : le physicien Timée donne d’une part une explication mécanique de la vue qui met en jeu deux flux lumineux, celui de l’œil et du corps se trouvant dans le champ de la vision, et d’autre part une explication fonctionnaliste ou téléologique faisant de la vision la source des sciences de l’astronomie, des mathématiques, et même de la (...) philosophie. Dans ce passage du Timée, la vision est une puissance qui nous informe sur la façon dont une affection, produisant une sensation, pourrait donner lieu à une connaissance. Cet article envisage d’abord les principales articulations du passage 45b-47b du Timée, avant d’examiner les enjeux d’interprétations concurrentes sur le rôle de la vision dans la constitution de la pensée dans ce passage précis : il maintient que, dans le cadre d’un dualisme constitutif entre sensible et intelligible, qui implique un saut épistémologique, la vision est un instrument servant de médiation vers l’intelligible. (shrink)

Often when there is no attention to an object, there is no conscious perception of it either, leading some to conclude that conscious perception is an attentional phenomenon. There is a well-known perceptual phenomenon—visuo-spatial crowding, in which objects are too closely packed for attention to single out one of them. This article argues that there is a variant of crowding—what I call ‘‘identity-crowding’’—in which one can consciously see a thing despite failure of attention to it. This conclusion, together with new (...) evidence that attention to an object occurs in unconscious perception, suggests there may be a double dissociation between conscious perception of an object and attention to that object, constraining the extent to which consciousness can be constitutively attentional. The argument appeals to a comparison between the minimal resolution (or ‘‘grain’’) of object-attention and object-seeing. (shrink)

Many disciplines in the arts and social sciences are currently redirecting their attention to surfaces, and ways of treating them, as primary conditions for the generation of meaning. With regard to visual perception, this has entailed a switch from its optical to its haptic modality. How does this switch affect the way surfaces are understood? It is argued that with haptic vision, the emphasis is not on conformation but texture, as revealed in flows of material composition and in patterns (...) of self-shadowing – or in a word, in complexion. This makes the surface, whether of face, skin or landscape, quite distinct from that of a body or an object. Drawing on the ideas of John Ruskin, the haptically perceived surface is compared to a veil that is worn in the double sense of adornment and erosion, of affective expression and weathering. The article concludes that it is in the relations between such surfaces that social life is lived. (shrink)

Afrocentrism. Eurocentrism. Caribbean Studies. British Studies. To the forces of cultural nationalism hunkered down in their camps, this bold hook sounds a liberating call. There is, Paul Gilroy tells us, a culture that is not specifically African, American, Caribbean, or British, but all of these at once, a black Atlantic culture whose themes and techniques transcend ethnicity and nationality to produce something new and, until now, unremarked. Challenging the practices and assumptions of cultural studies, The Black Atlantic also complicates and (...) enriches our understanding of modernism. Debates about postmodernism have cast an unfashionable pall over questions of historical periodization. Gilroy bucks this trend by arguing that the development of black culture in the Americas arid Europe is a historical experience which can be called modern for a number of clear and specific reasons. For Hegel, the dialectic of master and slave was integral to modernity, and Gilroy considers the implications of this idea for a transatlantic culture. In search of a poetics reflecting the politics and history of this culture, he takes us on a transatlantic tour of the music that, for centuries, has transmitted racial messages and feeling around the world, from the Jubilee Singers in the nineteenth century to Jimi Hendrix to rap. He also explores this internationalism as it is manifested in black writing from the "double consciousness" of W. E. B. Du Bois to the "double vision" of Richard Wright to the compelling voice of Toni Morrison. In a final tour de force, Gilroy exposes the shared contours of black and Jewish concepts of diaspora in order both to establish a theoretical basis for healing rifts between blacks and Jews in contemporary culture and to further define the central theme of his book: that blacks have shaped a nationalism, if not a nation, within the shared culture of the black Atlantic. (shrink)

In this paper I borrow from Maria Lugones’ work on playful “world-traveling” and W.E.B. Du Bois’ notion of “double consciousness” to make the case that humor can facilitate an openness and cooperative attitude among an otherwise closed, even adversarial audience. I focus on what I call “subversive” humor, that which is employed by or on behalf of those who have been continually marginalized. When effectively used, such humor can foster the inclination and even desire to listen to others and, (...) if only for brief moments, adopt their point of view. To be able to see oneself as others see you can also be a desirable capacity, because along with such multidimensional seeing comes an epistemic advantage lacking in those who have no need nor desire to see as others do, especially if the vision of the others happens to be from below where one perceives that the promises of our explicit ideals are constantly being implicitly broken. Such humor is aesthetic, pleasurable in and of itself, and not amenable to scientific dissection. But it is also a skill that can be honed into a powerful tool of persuasion in circumstances where straightforward arguments are less effective. It can raise consciousness about the lived experiences of those suffering under systemic oppression and foster world travelling. Subversive humor encourages audiences, especially those who contribute to what Jean Harvey calls “civilized oppression”, to playfully travel across worlds and “tarry along” with the perspectives of the marginalized. (shrink)

Le relief de la vision. Mouvement, profondeur et cinéma dansLe monde sensible et le monde de l’expressionEst-il possible d’établir une connexion entre Le monde sensible et le monde de l’expression et la pensée du dernier Merleau-Ponty? De quelle manière une formulation germinale de la réflexion ontologique serait-elle présente dans le cours de 1953? Et quels sont les éléments de contact et de convergence qui permettent de retracer un tel lien?J’ai l’intention de proposer cette hypothèse à partir d’une considération du (...) thème de la vision dans son rapport au mouvement, esquissant les points dans lesquels ce lien émerge et se montre, tant de manière latente que de manière manifeste. Je voudrais montrer comment, dans le développement de ce sours, d’un côté, le mouvement est défini dans sa valeur ontologique et en vient à exprimer la relation même qui lie le corps percevant et le monde perçu et, de l’autre côté, comme le thème de l’expérience scopique arrive à éclairer le rapport entre perception et expression pour en dévoiler le caractère chiasmatique.Si les recherches menées par Merleau-Ponty dans la Phénoménologie de la perception avaient délimité le rapport d’inhérence et de co-implication entre le percevant et le perçu, les notes de cours du Monde sensible et monde de l’expression en viennent à désigner un «double mouvement» entre le sens et le sensible, ou bien un mouvement d’expression et d’empiètement de l’un dans l’autre, «réciproque» et «à double sens», dans lequel nous pouvons entrevoir une préfiguration du rapport chiasmatique et réversible qui lie le voyant et le visible dans l’ontologie merleau-pontienne de la chair. Il existe une trame qui relie le cours de 1953 avec la réflexion du dernier Merleau-Ponty, particulièrement avec L’œil et l’esprit. J’ai parcouru à nouveau les trois modes, ou plutôt les trois mouvements de la vision qui émergent à l’état germinal dans les notes du cours.- Le thème de la vision en profondeur comme découverte du rapport actif-passif entre le voyant et le visible, lié à la dimension scopique comme ouverture au lien entre vision et désir.- La notion d’œil spirituel que Merleau-Ponty emprunte à Paul Schilder, comme concept clé pour la conception de la vision dans L’œil et l’esprit, qui représente en outre un lien fondamental entre l’expérience scopique et la conception libidinale du corps propre, en syntonie profonde avec le rôle de la pulsion scopique chez Lacan.- Le thème du mouvement dans le cinéma comme point culminant de ces références à la vision, à la profondeur, au relief, et qui émergera à quelques années de distance, avec la peinture, dans L’œil et l’esprit et dans le cours sur L’ontologie cartésienne et l’ontologie d’aujourd’hui.The Depth of Vision: Movement, Depth, and Cinema in The Sensible World and the World of ExpressionIs it possible to establish a connection between The Sensible World and the World of Expression and the final thought of Merleau-Ponty? In what manner would a germinal formulation of ontological reflection be present in the 1953 course? And what are the elements of contact and convergence that allow us to tracing out such a link? I intend to put forward this hypothesis from a consideration of the theme of vision in its relation to movement, sketching the points in which this link emerges and shows itself, both in a latent and a manifest way. I would like to show, in the development of this course, on the one hand, how movement is defined in its ontological value and comes to express the very relation which links the perceiving body and the perceived world, and, on the other hand, how, as the theme of optical experience happens to bring to light the relation between perception and expression in order to unveil its chiasmatic character.If the research conducted by Merleau-Ponty in the Phenomenology of Perception had delimited the relation of inherence and co-implication between the perceiving and the perceived, the course notes of The Sensible World and the World of Expression come to designate a “double movement” between sense and the sensible, or, a “reciprocal” or “bi-directional” movement of expression and encroachment, in which we can catch a glimpse of a prefiguration of the chiasmatic and reversible relation which links the seer and the visible in the Merleau-Ponty’s ontology of the flesh.There is a web which links the 1953 course with the reflection of the final Merleau-Ponty, particularly with Eye and Mind. I have again gone through the three modes, or rather the three movements of vision which emerge in a germinal state in the course notes.- The theme of vision in depth as the discovery of an active-passive relation between the seer and the visible, linked to the optical dimension as the opening to the link between vision and desire.- The notion of the spiritual eye that Merleau-Ponty takes from Paul Schilder, as the key concept for the conception of vision in Eye and Mind, which in addition represents a fundamental link between optical experience and the libidinal conception of one’s own body, which is profoundly in sync with the role of scopic impulse in Lacan.- The theme of movement in film as the culminating point of these references to vision, to the depth, to the being in relief, or depth perception, which will emerge in some distant years, with painting, in Eye and Mind and in the course on Cartesian Ontology and Ontology Today. (shrink)

Reid's Inquiry into the Human Mind on the Principles of Common Sense devotes more space to double vision than to any other topic. In what follows, I examine why this subject was so important to Reid and why he dealt with it as he did. I also consider whether his argument for his position begs the question against his main opponents, Berkeley and Robert Smith. I show that, as Reid presented it, it does, but that he could have (...) said more than he did in reply to Smith. My discussion of why double vision was important for Reid begins with an exposition of the relevance of the theory of vision for one of Reid's principal concerns in the Inquiry: the concern to respond to scepticism concerning our knowledge of an external world. I then turn to consider how Reid's account of double vision contributes to his epistemological realism and why the alternative account offered by Berkeley and Smith challenges it. (shrink)

This article contains an analysis of Warren Neidich’s early photographic work of 1997 until 2002. These works are linked to the extensive theoretical production of the artists who connect them to the concepts of the dispositif and apparatus respectively. The article provides a close description of the parameters of four pivotal work groups of Neidich’s early practice, Brain Wash, Double Vision, Shot Reverse Shot and Law of Loci. These works were realized with the aid of low-tech devices stemming (...) from neuro-ophthalmology, marking the interface between current neuro-philosophical discourses such as the plasticity of the brain, the apparati of visual, i.e. analog and digital, culture and the philosophy of memory. It is suggested that Neidich, even though he intervenes and contributes importantly to these intermingling discourses in a broad manner, is particularly interested in the degraded and infirm implementations of human vision in order to explore new sensations and habits of perception. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Double Exposure: Cutting Across Buddhist and Western DiscoursesSteven HeineDouble Exposure: Cutting Across Buddhist and Western Discourses. By Bernard Faure. Translated by Janet Lloyd. Stanford: Stanford University Press, 2004. Pp. xiv + 174. Hardcover $49.50. Paper $21.95.In some ways, Double Exposure: Cutting Across Buddhist and Western Discourses by Bernard Faure seems quite different from other publications by this author, including several books that were also translated from (...) the French such as Visions of Power and Will to Orthodoxy, which have a specific focus on the practice of Chan or on gender issues in Buddhism. Double Exposure deals with broad, wide-ranging philosophical themes concerning Buddhist thought set in comparative contexts with Western intellectual history since the Enlightenment, especially continental European philosophy. Faure is well known from previous works for his extensive explorations of poststructural theory in examining historical and doctrinal buddhological issues. Clearly, however, this book was intended primarily not for Buddhist studies scholars but for an audience of French intellectuals and cultural critics, encompassing but more diverse than the academic community, who wish to understand how the discourse of Buddhism pertains to, yet remains distinct from, their own recent history of thought. Rather than citing a particular set of poststructural thinkers to illuminate Buddhism, Faure does the converse and uses Buddhism to make key points about the development of Western thought.At the same time, Double Exposure is consistent with and an extension of Faure's earlier books in that it tracks the role of the twofold or double in its various manifestations both in Buddhist thought and in methodological approaches to interpreting Buddhism. Faure is endlessly fascinated by and delights in exposing the fact that the Buddhist tradition, nwhich claims to espouse a standpoint of nondualism, invariably and inevitably divvies reality up into an endless series of polarities and paradoxes regarding the apparent oppositions or contradictions between the realms of nirvāṇa and samsāṃra, karmic causality and transcendence of karma, ultimate and mundane reality (or two levels of truth), and sudden and gradual enlightenment. He asserts: "The history of Buddhism... seems to be governed by what Bergson, in The Two Sources of Morality and Religion, suggested calling the 'law of dichotomy,' a law which apparently brings about a realization, by a mere splitting, of tendencies which began by being two views, so to speak, of one and the same tendency" (p. 124). [End Page 178]In addition to Bergson, Faure cites classical notions like the Platonic division between the ideal form and the world of concrete forms, the two-faced Roman god Janus who rules over past and future, and the Manichaean split between good and evil. Faure also emphasizes more recent French thinkers and scholars, including Emile Beneviste, Nayla Farouki, Michel Foucault, Maurice Merleau-Ponty, and Henri Micheaux, among others, who in probing the "diabolical" sense of truth versus error, which are considered eternal contraries in Western thought, especially in Christianity, are useful for discussing parallels and differences with Buddhism.Double Exposure also discusses interpretive debates about whether Buddhism should be seen as epitomizing agnosticism versus mysticism, pragmatism versus supernaturalism, or rationalism versus mythology, as well as conflicts in using the method of psychology as opposed to anthropology and the impact of hidden, or not-so-hidden Orientalist and reverse Orientalist tendencies. Perhaps the best organized chapter in the book is "The Major Schools" (chapter 5), which offers a quick but insightful overview of early Buddhist realism, Yogācāra idealism, the Mādhyamika middle way, and Chan's compromise between immanence and transcendence. The most imaginative section is "External Thought" (chapter 8), which delves into a vast array of topics. These range from Tantric sexuality as a form of spiritual energy and Diderot's view of the perpetual shifting of ordinary thought to Zongmi's image of the bright pearl as a metaphor for sudden realization compared with Paul Claudel's own pearl metaphor in Conversations dans le Loir-et-Cher, which evokes a gradual path of self-understanding.I think Faure's main aim in all his many publications is to explore and expose the wedges, gaps, and inconsistencies, without making a judgment other than to underscore that what... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 35.2 (2002) 120-137 [Access article in PDF] Discursive Mobility and Double Consciousness in S. Weir Mitchell and W.E.B. Du Bois 1 Susan Wells Here are two stories about double consciousness: they will become, eventually, stories about the public sphere: W. E. B. Du Bois formulating the theory of double consciousness, and S. Weir Mitchell presenting Mary Reynolds's case history, an instance of a (...) mental disorder known in the nineteenth century as double consciousness. I will begin with Du Bois's story, by far the most familiar to us: few texts are more central to contemporary rhetoric or cultural studies than the discussion of double consciousness in the opening pages of The Souls of Black Folk. 2 In the theory of double consciousness, Du Bois concentrated his contradictory experiences of scholarship, activism, social isolation, and active cosmopolitanism. Double consciousness was a methodological constraint that enabled Du Bois to build into the structure of The Souls of Black Folk a recognition that the complexity of African American life requires more than one perspective. And double consciousness was also a technique of writing, shaping the ironic and urgent voice of the book, by turns indignant and tender, eloquent and colloquial, a form of double address to both African American and Caucasian readers that allowed Du Bois to be two places at once. Double consciousness therefore controlled both the development and the presentation of The Souls of Black Folk, from the arc of its argument to its formal elements, includingDu Bois's famous use of chapter epigraphs to link canonic poetry with the melodies of the sorrow songs. Like the most relentlessly formal high modernist poem, the book continually enacts in its form not only its informing idea, but the circumstances of its composition and the constraints that shape its reading.The book's initial essay, "Of Our Spiritual Strivings," offers an analysis of double consciousness as it is shaped by three central categories of modernity: temporality, embodiment, and expertise. Double consciousness is located in time, in history; it is placed in a story of the epochal succession [End Page 120] of races, and in the specific history of slavery. Double consciousness emerges as strategically shaping African American responses to the problems of disenfranchisement, poverty, and the denial of civil rights after the suppression of Reconstruction. The historical sections of The Souls of Black Folk, therefore, do not simply rectify the facts, setting the record straight on Reconstruction or Afrocentric scholar and theorist Alexander Crumell. These local arguments all motivate an understanding of consciousness as temporally constituted, so that the work of previous generations can be effective only when it is appropriated in the present. Such appropriation is supported and mediated by the form of the book: Du Bois ends with an invocation to "God the Reader," who alone can ensure that "these crooked marks on a fragile leaf be not indeed THE END" (19).Double consciousness is also connected with embodiment, specifically the embodiment of African Americans, externalized and displaced in two images: blood, which I will discuss later in the essay, and the veil or caul that grants second sight. Like skin color, the caul is an inconsequential physical object invested with enormous symbolic power (8); it is a mark of origins that foretells the future. The "second sight" offered to the Negro is a vision of "two warring ideals," a vision that can barely be supported by "one dark body, whose dogged strength alone keeps it from being torn asunder"(9). At moments in The Souls of Black Folk, the veil is generalized, and becomes a physical barrier between the white world and the world of African American culture; the work of separating these worlds, of rendering them invisible to one another, is staged on the bodies of African Americans. The veil is usually seen as a separation between the races, something that has happened ("Feeling deeply and keenly the tendencies and opportunities of the age in which they live, their souls are bitter at the fate which drops the Veil... (shrink)