Merleau-Ponty and Nishida: Artistic Expression as Motor-Perceptual Faith

Description

Places the phenomenologies of Merleau-Ponty and Nishida in dialogue and uncovers a demand for a motor-perceptual form of faith in both philosophers’ meditations on artistic expression. Contents List of Illustrations Acknowledgments Introduction Faith, Flesh, and Basho Nishida between Religion and Philosophy Merleau-Ponty between Philosophy and Religion Artistic Expression East and West Ambiguity, Negation, and Faith Chapter 1 Ontology, Ambiguity, and Negation Motor-Perceptual Fabric: Faith and Transitivity Nishida and Phenomenology Substance and Relation: Separation and Non-Obstruction Nishida’s “Absolute Negation” Negation: Chiasm, “Continuity of Discontinuity” Merleau-Ponty Counter Sartre’s Nullité Absolue Nishida: “Absolute Negation” and the “I-Thou” Relation Representation and Perceptual Negation: From Non-Subject to Non-Object Chapter 2 Perceptual Fabric: Space, Time, and Light Vision and Multi-Perspectivalism: Seeing-Seen Representation, Ocularcentrism, and Multi-Perspectivalism Multi-Perspectival Perception The Three Graces Guo Xi: Angle of Totality “Dragon Veins”: The Visible and Invisible in Daoism Merleau-Ponty: Multi-Perspectivalism and “Depth” Time and Negation I: Ecstatic Temporality Nishida: “Eternal Now” and “Internal-qua-External Perception” Skin and Bones in Rodin and Taiga Multi-perspectivalism Creation and Obstruction The Expanded Body: Vision and Touch Tool as Non-Objective Bodily Extension Space: Distance and Proximity “Distanceless Distance” Light, Tools, and the Aesthetics of Transparent Mediality Molyneux’s Problem: Obstruction and Light Nishida: Full Reversibility and Expression Everything Touching or Nothing at All Chapter 3 Motor-Perceptual Fabric: Time and Motion Sesshū Tōyō: Zen, Vision, and Motion Cézanne’s “Germinations” with the Landscape Time: From Perception to Motor-Perception Motion: Volitional Character of the World Activity-Passivity Ontologies of Expression Motor-Background: “Solicitations” and “Unity of Act and Act” Body and Expression in Time Nishida’s “Historical Body” and “Historical World” Time and Negation II: “Deep Present” and “Absolute Present” From Multi-Perspectival to Multi-Volitional “Optimal Grip” and the Force of Tradition New Art: Creating the Visible Copy and Original “New Art”: Objectivity and Faith Tradition as Historical-Volitional Ecstasis New Solicitations, New Continuity of Act, and Act From Creating the Conditions of Visibility to Creating the Conditions of Motor-Visibility Vision as Motion Motion as Vision “Acting-Intuition” Color(lessness) and Motion(lessness) Motor-Chromaticity The Color of Negation Chapter 4 Expression as “Motor-Perceptual Faith” “Seeing without a Seer” and Moving without a Mover Motor-Perceptual “Blind Spot” as Dynamic Obstruction Nishida: “Seeing Without a Seer” Mirroring, Mapping, and Seeing History of Motor-Visibility Klee: “End-Forms” and “Formative Forces” The Invisibility of the Self as “Style” and the Temporality of Risk Coherent Deformation and the Force of Tradition Overcoming Reflection, Embracing Risk Holography, Infinity, and Risk Reflection and Faith Spontaneity and Non-Willing The Materiality of Spontaneous Expression: Bernard Leach and Pottery as Throwing-Thrown The Fallacy of Motor-Perceptual Neutrality and Uni-Directional Expression Spontaneity and the Temporality of Risk The Limits of Reflection and Doubt: The Pre-Reflective and the Necessity of Faith Faith, Negation, and Volition in the Pre-Reflective Conclusion: Motor-Perceptual Faith between Philosophy, Religion, and Art Secularizing the Spiritual: Nishida’s “Inverse Polarity” and “Interexpression” Spiritualizing the Secular: Merleau-Ponty and “Anatheism” Works Cited and Bibliography Index