The Body is the Screen. Merleau-Ponty’s Philosophy of the Visual Merleau-Ponty’s later thought is primarily concerned with a new conception of visibility, of what the philosopher calls a “generality of the Sensible”, originating both the “reversibility” of the body, its capacity to be both sentient and sensible, and an intentionality of the visible itself. What is at stake in thinking of the seer as being enveloped in the visible, as being of it, within the visible, is an “ontological rehabilitation of the sensible”, which is particularly rich and brings along consequences for an understanding of our contemporary scopic regime, and especially of the ontological status of images and screens in our visual experience. Merleau-Ponty thinks of the visible world not simply as an object, but as the pivot for a new conception of rationality and Being, one that seeks to rearticulate the ontological relationship between the self and the world beyond all forms of dualism. Accordingly, the visible is taken into account in its historicity, as long as it is phenomenal and situated in its appearance, but also as it always implies a constitutive invisibility or a certain latency and virtuality. Vision is conceived as a historical and processual phenomenon, including anthropological and epistemic mutations being afoot in our contact with the visible world, inscribed in human forms of expression and particularly artistic creation, which is one of the cores of Merleau-Ponty’s philosophical work. It is then with regard to such aspects that it is possible to refer to a philosophy of the “visual” in Merleau-Ponty, which I will try to characterize, by focusing on some fundamental pivotal points, such as image, medium, technique, work of art, haptic. I will make special reference to the reflection on cinema and the notion of “screen”, in the attempt of both retracing the elaboration of such issues, in relation to sources and different phases of Merleau-Ponty’s philosophy, and appreciating the interest that his thought has generated in other scientific fields related to visual.
Il corpo è lo schermo. La filosofia del visuale di Merleau-Ponty Per Merleau-Ponty, l’esigenza di ripensare la razionalità contemporanea al di là del dualismo di soggetto-oggetto implica e si intreccia con la questione dello sguardo, inteso non come punto in cui si origina una visione del mondo, ma come evento nel quale il soggetto e il mondo si generano in un movimento reciproco di co-naissance. Il visibile, e, più specificamente, quel tipo particolare di visibile che è l’immagine, è pensato come uno snodo decisivo, come punto in cui ne va della razionalità e dell’Essere, ed è compreso nella sua storicità propria, in virtù della sua apparizione fenomenica e situata, ma anche in quanto esso costitutivamente implica un risvolto di invisibile o orizzonte di latenza. Il vedere è così situato da Merleau-Ponty in quel corpo i cui occhi vedono ed il rapporto tra corpo e immagine è compreso nella sua trama storica e processuale, che si allarga fino ad includere le mutazioni antropologiche ed epistemiche che possiamo ritrovare all’opera nel nostro rapporto percettivo con il mondo e che in particolar modo si trovano inscritte nel fenomeno dell’espressione artistica. Considerando il soggetto come vedente che non si trova semplicemente nel visibile ma, che ne è, il filosofo viene così a delineare una reversibilità della visione ed una co-implicazione di senso e sensibile, le cui conseguenze teoriche toccano in modo pregnante la nostra comprensione dell’universo visuale e del regime scopico contemporaneo, trovandosi in una significativa convergenza con le istanze proprie della svolta iconica che ha investito gli studi sull’immagine, tanto in ambito anglosassone quanto nel contesto europeo. A partire da alcuni nodi decisivi – tra cui immagine, medium, tecnica, opera d’arte, aptico – ed in particolare attraverso il riferimento al cinema e alla nozione di “schermo”, il presente lavoro si propone di caratterizzare il pensiero merleau-pontiano del visuale, da un lato, nel tentativo di ricostruirne la traiettoria rispetto alle fonti ed alle diverse fasi della sua riflessione filosofica, dall’altro, con l’intento di individuare l’impatto generato dal pensiero di Merleau-Ponty in altri campi disciplinari, al fine di metterne così in rilievo l’interesse per una riflessione che si rivolga all’immagine ed al visuale oggi.
LE CORPS C'EST L'ÉCRAN. LA PHILOSOPHIE DU VISUEL DE MERLEAU-PONTY / A.c. Dalmasso ; directeur du these: M. Carbone ; co-directeur: A. Pinotti. DIPARTIMENTO DI FILOSOFIA, 2015 Dec 01. 26. ciclo, Anno Accademico 2013. [10.13130/dalmasso-anna-caterina_phd2015-12-01].
LE CORPS C'EST L'ÉCRAN. LA PHILOSOPHIE DU VISUEL DE MERLEAU-PONTY
A.C. Dalmasso
2015
Abstract
The Body is the Screen. Merleau-Ponty’s Philosophy of the Visual Merleau-Ponty’s later thought is primarily concerned with a new conception of visibility, of what the philosopher calls a “generality of the Sensible”, originating both the “reversibility” of the body, its capacity to be both sentient and sensible, and an intentionality of the visible itself. What is at stake in thinking of the seer as being enveloped in the visible, as being of it, within the visible, is an “ontological rehabilitation of the sensible”, which is particularly rich and brings along consequences for an understanding of our contemporary scopic regime, and especially of the ontological status of images and screens in our visual experience. Merleau-Ponty thinks of the visible world not simply as an object, but as the pivot for a new conception of rationality and Being, one that seeks to rearticulate the ontological relationship between the self and the world beyond all forms of dualism. Accordingly, the visible is taken into account in its historicity, as long as it is phenomenal and situated in its appearance, but also as it always implies a constitutive invisibility or a certain latency and virtuality. Vision is conceived as a historical and processual phenomenon, including anthropological and epistemic mutations being afoot in our contact with the visible world, inscribed in human forms of expression and particularly artistic creation, which is one of the cores of Merleau-Ponty’s philosophical work. It is then with regard to such aspects that it is possible to refer to a philosophy of the “visual” in Merleau-Ponty, which I will try to characterize, by focusing on some fundamental pivotal points, such as image, medium, technique, work of art, haptic. I will make special reference to the reflection on cinema and the notion of “screen”, in the attempt of both retracing the elaboration of such issues, in relation to sources and different phases of Merleau-Ponty’s philosophy, and appreciating the interest that his thought has generated in other scientific fields related to visual.File | Dimensione | Formato | |
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Descrizione: Le corps c'est l'écran. La philosophie du visuel de Merleau-Ponty
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