By Komarine Romdenh-Romluc
Maurice Merleau-Ponty (1908 – 1961) is hailed as one of many key philosophers of the 20 th century. Phenomenology of Perception is his most renowned and influential paintings, and an important textual content for a person looking to comprehend phenomenology. during this GuideBook Komarine Romdenh-Romluc introduces and assesses:
- Merleau-Ponty’s lifestyles and the historical past to his philosophy
- the key topics and arguments of Phenomenology of Perception
- the carrying on with significance of Merleau-Ponty’s paintings to philosophy.
Merleau-Ponty and Phenomenology of Perception is a perfect place to begin for somebody coming to his nice paintings for the 1st time. it truly is crucial interpreting for college kids of Merleau-Ponty, phenomenology and similar topics within the Humanities and Social Sciences.
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Extra resources for Routledge Philosophy GuideBook to Merleau-Ponty and Phenomenology of Perception (Routledge Philosophy GuideBooks)
This is shown by the pattern of experience following damage to the visual system. First, the saturation of all colours is reduced. Next, the spectrum of colours experienced diminishes to four colours, then two. Finally, the subject experiences only a grey, monochrome colour, which is reportedly different from any colour normally experienced. In these cases, injury does not simply result in the loss of speciﬁc sensations. Instead, the richness of visual experience as a whole is affected. 4 It follows that the body and its sense-organs cannot be thought of as transmitters that detect information and merely relay it to consciousness in the form of corresponding sensations, as the Constancy Hypothesis supposes.
Imagine that I walk to the top of a hill and lie down on my back, looking at the sky. The sky is uniformly blue, cloudless and takes up the whole of my visual ﬁeld. In this case my visual ﬁeld is undifferentiated, yet I see the sky. Thus it appears that one can see a completely homogeneous area after all. There are two related responses that may be offered to this objection. First, one might point to the fact that the visual experience of the sky – like any visual experience – does not occur in isolation from other forms of perception.
Merleau-Ponty cites the following cases. The frequency of a sound wave is heard by humans as pitch. According to the Constancy Hypothesis, the sound wave stimulates our ears, producing a particular auditory sensation. The sensation produced by a sound wave of one frequency should always be the same. However, as Merleau-Ponty notes, this is not so. 1 Similarly, each atomic section of a ﬁgure on paper should stimulate a point on the retina to produce a visual sensation that corresponds with it, so that the same ﬁgure is seen in the same way each time it is viewed.