Helen A. Fielding

As we know, Merleau-Ponty was struggling with a dynamic shift in his thinking at the premature end of his life. In those last notes he raises the question of how to elaborate a phenomenology of “’the other world’, as the limit of a phenomenology of the imaginary and the ‘hidden’”—a phenomenology that would open onto an invisible life, community, other and culture. In her essay on “Eye and Mind”, “To Paint the Invisible”, Luce Irigaray argues that Merleau-Ponty was not yet ready to address this question, of the limits posed to his vision by the presence of an other. The artworks of abstract expressionist artist Joan Mitchell are considered in the ways that they open up a different time-space suggesting an other world with which we intertwine without appropriation. Her works, I argue, defy reduction to essences, but also do not rely merely on sensation—for this reason they point in the direction of how to think phenomenology anew. For I do think Merleau-Ponty would be open to these conversations, to these other worlds and other visions.

Helen Fielding, in examining Yael Bartana’s video art works, in particular, Wild Seeds (2005), argues that politics seem to privilege the temporal, and video art thus lends itself to this enactment. Drawing upon Hannah Arendt, she concludes that the in-between, while a space and not a territory, is more a spacing, a taking place between people “no matter where they happen to be” than a place as such. In Bartana’s works, the temporal aspect of video allows her to open up a time-space, or rather a spacing as a relation rather than a place. It is a spacing that takes place only when the art work sets to work in its engagement with viewers, that is, when the video is playing in a public space. Moreover, Bartana generally takes up temporally circumscribed events that are deeply embedded in the past, yet show up either disjuncture or parallels between national identity and individual embodied narratives. While national identity might rely upon fusion, Bartana’s videos upset that identity by opening up a spacing where identity can be questioned. Filming events such as a demonstration, an initiation into military weapons training, as well as play, her videos draw upon ritualized events that, in their repetition, are often meant to work performatively at a corporeal level to create a national and cultural unity. Her videos affectively and phenomenally draw the viewer into the corporeal experience of these rituals in order to show up the ruptures; indeed, they seem to suggest that it is at the level of the corporeal that this cohesion can both be effected and also undone. In other words, rather than focusing on national identity which is exclusive and hence spatial, corporeal being-with is temporal—the polis is figured as embodied intermittent relations or spacings rather than as an actual territory or space.

Phenomenally strong artworks have the potential to anchor us in reality and to cultivate our perception. For the most part, we barely notice the world around us, as we are too often elsewhere, texting, coordinating schedules, planning ahead, navigating what needs to be done. This is the level of our age that shapes the ways we encounter things and others. In such a world it is no wonder we no longer trust our senses. But as feminists have long argued, thinking grounded in embodied experience can be more open to difference; such embodied thinking helps us to resist the colonization of a singular, only seemingly neutral, perspective that closes down living potentialities.

I explore the possibility that the feminine, like art, can be thought in terms of Jean-Luc Nancy’s concept of the singular plural. In Les Muses, Nancy claims that art provides for the rethinking of a technë not ruled by instrumentality. Specifically, in rethinking aesthetics in terms of the debates laid out by Kant, Hegel and Heidegger, he resituates the ontological in terms of the specificity of the techniques of each particular artwork; each artwork establishes relations particular to its world or worlds. What is at stake in the singular plural is the multiplicity of relations that are lost in the unifying gestures that arise out of radical oppositions. I rethink the singular plural through a phenomenological encounter with Barb Hunt’s artwork, Antipersonnel, a collection of hand-knitted replicas of antipersonnel landmines.

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 40.1 (2002) 134-135 [Access article in PDF] Book Review Merleau-Ponty's Last Vision: A Proposal for the Completion of 'The Visible and the Invisible Douglas Low. Merleau-Ponty's Last Vision: A Proposal for the Completion of 'The Visible and the Invisible.' Evanston, IL: Northwestern University Press, 2000. Pp. xv + 124. Cloth, $75.00. Paper, $19.95. Low sets himself an impossible task, that of completing the uncompleted work of a philosopher whose untimely decease prevented him from doing so himself. What he does succeed in providing is a systematic commentary and a rich integration of Merleau-Ponty's later philosophy. This task itself is important since it is believed by many that Merleau-Ponty's premature death prevented the completion of a book that would have altered the philosophical scene of Paris in the 1960s, and that, moreover, even in its incomplete form, speaks to pressing contemporary philosophical debates on such issues as mind/body dualism, and our relation to nature.The main focus of Low's reading is Merleau-Ponty's philosophy of language, which Low appropriately situates as a mediation between a modernist philosophy of presence and a postmodern Derridean approach to language as the constant deferral of meaning. Language is not the repository for ideal essences, nor do existents have an immediate [End Page 134] coincidence or fusion with things or the world. Indeed, the strength of Merleau-Ponty's philosophy is that he begins with an understanding of human action as meaningfully orientated; to move in the world is to interpretatively encounter it. As Low points out, "an ontological priority [is] granted to the body and the world upon which it opens, for together in lived experience they sustain a field of stable meanings, meanings that are then sublimated in the bodily gesture called speech" (22). Low differs from most Merleau-Ponty scholars in his assumption that there is no significant break between the earlier Phenomenology of Perception, where Merleau-Ponty carefully worked out his descriptions of embodied perception, and the later work that lays out the ontology. Indeed, one accomplishment of Low's book is to show how they fit together, explaining how the insights of the first work are necessary for grounding the ontology Merleau-Ponty began to work out in the later one.Low's book is divided into two sections. The first section, "The Visible and Nature," focuses on how we encounter the world, concluding with a helpful summary and assessment of Merleau-Ponty's ontology. Drawing upon the late essay "Eye and Mind," Low lays out Merleau-Ponty's ontology through his intuition that modern art, unlike the representational focus of Renaissance art, reveals our contact with the world as a "system of exchanges between the sensing and the sensible" (56). Perceiving the artwork is not an intellectual computation of a second-order representation of the world; rather, we see according to the work. It is a bodily process that reveals a reversibility between the viewer and the world. The second section, "The Invisible and Logos," focuses on how these encounters are sublimated or taken up in language. Language is, for Merleau-Ponty, first speech since it relies upon a speaker to take it up, "to sustain and modify it." Signs, gestures, and meaning are folded into one another. As embodied beings, we literally grasp meaning (89).This book would be of enormous benefit to scholars embarking on a reading of Merleau-Ponty's works, and it is one I highly recommend for that purpose. Although it is not original in its interpretations, its value lies in its gathering and integration of complex themes that provide an important introduction to Merleau-Ponty's late philosophy. The book maps out, moreover, a chronology of these themes and the specifics of where to find them; it also shows how the fragments fit together, indicating directions in which they might lead. His writing style is accessible without being simplistic. By interweaving his interpretations with long quotes from...

Irigaray's insistence on sexual difference as the primary difference arises out of a phenomenological perception of nature. Drawing on Heidegger's insights into physis, she begins with his critique of the nature/culture binary. Both philosophers maintain that nature is not matter to be ordered by technical know-how; yet Irigaray reveals that although Heidegger distinguishes physis from techn in his work, his forgetting of the potentiality of matter, the maternal-feminine, and the two-fold essence of being as sexual difference means that his own concept of physis can be understood as another techn. Focussing in particular upon Heidegger's interpretation of Aristotle's privileging of morphé over hylé as a description of presencing into appearance, I show that for Irigaray the movements of presencing and absencing emerge out of a metaphysics that does not take into account the fluidity, the mixtures and interpenetrations of a nature that is limited by fecundity not by death. Our oblivion to nature is the greatest danger, and thus attending to our embodied and hence sexuate nature holds the promise of a new age, since it is rooted in the possibilities of the flesh revealed through the cultivated perception of sexual difference.

This chapter is a study on Luce Irigaray’s engagement with Martin Heidegger’s approach to language. Although language is central to both thinkers, rather than privileging language in terms of the poëtic event of being, the arising of something out of itself, Irigaray reveals how language is privileged in terms of its promise of dialogue between two who are different. This difference provides for a limit to what can be known or recognized, as well as for a creative potentiality that is directed towards the future.

This paper brings Merleau-Ponty’s phenomenological approach to Sasha Waltz’s dance film S, which focuses on the relation between sexuality and language. Maintaining that movement in cinema takes place in the viewers and not the film, the paper considers how the visual can be deepened to include the ways we move and are moved. Saussure’s insights into language are brought to the sensible, which is here understood in terms of divergences from norms. Though film would seem to privilege vision, viewing this film helps to elucidate Merleau-Ponty’s claim that a film succeeds when it engages the viewer’s embodied understanding, and shifts the norms of the corporeal schema.