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Datoforaflevering:________4/62013 ________________________ Navn:_________________BjrnFredJensen__________________ Studienummer:_________msf239___________________________ Telefonnummer:_________52894106_______________________ Email:_______________bfj1253@gmail.com________________ Lrersnavn:________________AdrianAlsmith__________ Studieordning(rstalognavn)____2008ordningen_____ Modul(sestudieordning)____4_________________________ Navnpkursus:Introductiontophenomenologyandrecentphilosophyof mind Hovedomrde:(PraktiskFilosofiellerTeoretiskFilosofieller Filosofihistorie.Udfyldeskunafkandidatstuderende) _____________TeoretiskFilosofi_______________________ Evt.grenspecialisering(udfyldeskunafkandidatstuderende):

_____________Phenomenologyandphilosophyofmind AntalNormalsider:_13,7_______ AntalTegn:_____33053______

Studieordningerkansesvia http://filosofi.ku.dk/studieordninger/
Perception ThispaperwillfocusonprereflectiveperceptionasitisarticulatedinMerleauPontys Phnomnologiedelaperception(1945).Prereflectiveperceptionistheideathatwehavean immediateexperienceoftheworldwhichispriortoourreflectionuponit.Butwhenweexamine questionswestartaprocessofreflection.Westarttostructureourthinkingandtofindan answertothequestion.Likeariddlewetrytofigureout.Soitseemsliketherearetwodistinct waysofunderstandingthenatureofperception.First:Perceptionasprereflective.Second:asa reflectionuponourperception.Asanexample:wesuddenlyexperiencealoudnoise.Thenwe starttoreflect.Welookoutthewindow,tofindoutwhatitwasThenwefindoutthattherewasa caraccidentwhichwasthesourceoftheloudnoise.Thepointisthatourunderstandingis normallyformeduponreflection.Weexperiencesomething,butitislaterthatwecometo understandwhatitwas.Nonetheless,thereisnodoubtthatthisprereflectivefieldisindeedreal andsignificanttous.Inotherwordsitistruetous,thatwehavetheseprereflective experiences.So,ifwedoperceiveprereflectively,thentheremustbeawholefieldwhichpartof oureverydaylife,whichisdifficulttounderstandanddescribewithrationalandreflective approaches.ThereforeitisthisfieldofprereflectiveexperienceIwishtoexploreinthepresent paperthroughthelenseofPhnomnologiedelaperception.Further,theclaimthatthereisa fieldofprereflectiveexperience,whichseemsdifficulttoexplainbyreasoningandreflection,has leadmetotheideathatartcanarticulatethisexperience. Art 2

Exactlywhatartis,isabigdiscussioninitself.ThewayIwillusethetermartisasan expressionwhichdoesnothavethesamelogicalconstraintsaslanguagedoes.Itdoesnothave tomakesensethesamewaylanguagedoes.Abstractpaintingisagoodexampleofthis.Art canbeexpressedimmediatelyandwithoutreflection.Asatestimonyofthecurrentstatethe artistisin.Animprovisationaljazzmusicianisagoodexampleofthis. Thisisthefirstreasonwhyitcanbeusefultobringartintothequestion.Secondreasonisthat withinMerleauPontysauthorship,art,asawayofexpressingthewayweperceive,hasa certainstatus.Hetalksaboutartasarealisationoftruth1 (fr.ralisationdunevrit, MerleauPonty,1945:21/xxiii)2 .AndinhislaterworkssuchasSignes(1960)andLeoiletlsprit (1961)heusesexamplesfromtheworksofthefrenchimpressionistPaulCzanne.Inthe discussionsectionIwillthereforearguethatartcanarticulatethisprereflectivefieldof perception.Andthus,beatestimonyofatrue3 perceptionoftheworld.Though,Iwantto challengetheideaofartasanarticulationoftruth:throughoutthehistoryofphilosophy,arthas beenconnectedtotruth.ButthegermanphilosopherFriedrichNietzsche(18441900)sawthe ideaoftruthassomethingsuperfluousinrelationtoart.Tohimthetermtruthisonlyametaphor inventedbymanforpracticalreasons.Iwillexaminethisclaiminthediscussionsection. Centralclaimofthepaper Iwillinthispaperclaimthatweperceiveprereflectively.Further,Iwillinthediscussionsection claimthatartcanarticulateourprereflectiveperceptionandevenbe,inMerleauPontysown words,arealisationoftruth.Iwillargueforthesetwocentralclaimsbyansweringmyresearch question:HowisprereflectivityarticulatedinMerleauPontysPhnomnologiedela Perceptionandcanartbeatruearticulationofprereflectiveperception? PrefaceofPhenomenologyofperception PhnomnologiedelaperceptionistakingofbyMerleauPontysimplyasks:Questcequela phnomnologie?(Ibid:7/Vii).Heisthenlayingoutthehistoricalbackgroundofthe phenomenologicaltraditionsinceHusserl.Inthesamebreathisheproclaiminghispointof
1 2

Theenglishtranslation:bringingatruthintobeing Iwillthroughoutthepaperquotetheoriginalfrenchtext,sincetheenglishtranslationsisknowntohave someshortcomings.I.g.MonikaLanger:Eventherevised(1981)Englisheditionisfrequentlymisleading andoccasionallydownrightincorrectatbestitlacksthenuancesoftheoriginal(Langer:vii).Iwillmake crossreferencestoColinSmithstranslation. 3 Iwillusethetermtruthinthissense:Thewayaphenomenonisimmediatelyorprereflectivelyperceived asitisinitself.

departure:MaisCestaussiunephilosophiepourlaquellelemondeesttoujoursdjlaavantla reflexion,commeuneprsenceinalinable,etdonttoutleffortestderetrouvercecontactnaf aveclemondepourluidonnerenfinunstatutphilosophique(ibid:7/vii).Theworldisalready thereandwealreadyexperienceitavantlarflexion.Wehavetodrawtheconsequencesof this:thatourperceptionoftheworldisnotdoneonlybyanalyticalreflexion(fr.lanalyse rflexive(Ibid:12/x).Wedonotonlyperceivetheworldbysteppingoutsideofitandreflectupon it.Wehavetofindthisnaivecontactwiththeworld,whichispriortothereflectionofit. MerleauPontysstartingpointisthehumansituation,ourcurrentbeingintheworld.Monica LangerclaimsthatareadingofPhnomnologiedelaperceptionmustconsiderthenatureof existentialistphilosophy(Langer:viii).WehavetoconsiderexistentialismbecauseItstresses thatwearenotneutralobservers(ibid:ix).Weneedtobeawareofourprereflective beingintheworldinordertounderstandthenatureofperception.Wehavetoilluminate(ibid: ix)ourcurrentlifesituationandourinvolvementwiththeworld.Wehavetobeawareofourown pointofdepartureandperspectiveontheworld.Wehavetotakeintoaccountwherewe ourselvesareseeingthingsfrom,beforewecanmakeaqualifiedjudgementonwhatandhow weareseeing.ThisisthestartingpointforMerleauPontysphenomenology.Todrawout MerleauPontysphenomenologicalapproachmoreclearly,Iwillsayafewwordsaboutthe fatherofphenomenology,EdmundHusserl. ThelegacyfromHusserl Phenomenologyisaphilosophicalmethodofstudyingthephenomenonsthemselves,without addingtheoriesandprejudicestotheexperiences.Aphenomenologicalanalysiscouldbeto preciselydescribetheexperienceofatable,aworkofartorotherpeople.Soitdealswithhow theexperienceofsomethingcanbedescribed.Thisexperienceofsomethingisknownas intentionality:theideathatourexperiencesisalwaysdirectedatsomething.Asanexample:we cannotexperiencenothing,wewillalwaysbeexperiencingsomething,evenifthissomethingis nothing.Further,Husserlemployedamethodcalledtheepoch:awayofbracketourbeliefs andjudgementsaboutourexperiences,beforestartingourphenomenologicalinvestigations. Thisshouldensureadirectaccesstothephenomenons.Itshouldmakethesubjectandits undisturbedexperienceofthephenomenons,theconditiontogaintrueknowledge.Thisis knownastranscendentalphilosophy.Husserlsphenomenologyhasthusbeendescribedas transcendental:Transcendentalphenomenology,incontrast,beginswiththeEgos experiences,fromwhichtheexistenceoftheworldofobjectshasbeenbracketed.Itstaskisto 4

discoverwhattheEgowhichhastheseexperiencesmustbelike,andhowtheEgoconstrues outofitsexperiencesanexistentworldofobjects(Hammond:97).Itistheexperiencesofthe Ego,orthesubject,Husserlfocusedoninexplainingperception. MerleauPontysphenomenology ButMerleauPontyrejectedthetranscendentalEgoasthesolecenterandcreatorof experiences.Heagreedonourexperienceisalwaysdirectedatsomething.Butherefusedthe ideathatweareabletobracketourcurrentbeingintheworld.Ourstartingpointis,asLanger stressedabove,existentialtoMerleauPonty.Theconsequenceofthisisthatintentionalityis firstandforemostabodilyintentionality(Ibid:xiv).ToMerleauPontyathinglikeapure impressiondoesn'texist(see:MerleauPonty,1945:26/5). Failingtotakethebodilyperspectiveofexperiencesintoaccount,istoMerleauPontytodivide theworldintotwospheres:theworldandatranscendentalEgowhichwatchesitanalytically.To himanaccountofperceptionhavetotakebothourbodyanditsrelationtheworldintoaccount. AndnotrelyingsolelyonareflectiveEgo. Perceptionisourverystartingpoint.Weperceivebeforewejudgeandreflect:lemondeest celaquenouspercevons(Ibid:1617/xviii).Everythingweperceiveistheworldandwecannot proveitbylapenseadquate(ibid:17/xviii).Ourperceptionistrueasweexperienceit.To askfortheessenceofthisperceptionistopresumetheperceptionasonlythetool,which,if examinedproperlybyreflection,cangiveusaccesstothetruth.AndtoMerleauPontythiswould betolookforthetruththewrongplace.Insteadourperceptionistrueorrealasweexperience prereflectively.AndthereforeitisourprereflectiveperceptionMerleauPontywantstofocuson. Bodilyconsciousness MerleauPontysnotionofintentionalitydiffersfromthehusserlianaccountjustmentionedabove. Instead,MerleauPontyproposesanotionlargiedelintentionalit(ibid:18/xx).Anotionof intentionalitywhichisnotonlymediatedthroughreflectionandnotonlylimiteauxvraieset immuablesnatures(ibid:18/xx). MerleauPontyexpandsthenotionofintentionalitybyfocusingonourbodilyconsciousness.Our intentionalityisnotforemostareflectiveconsciousnessofphenomenons,asHusserlsuggested (SeeLanger:xiv).Ourconsciousnessisforemostbodilyandprereflective:MerleauPonty pointsoutthatallknowledgetakesplacewithinthehorizonsopenedupbyperception,thatthe primordialstructuresofperceptionpervadetheentirerangeofreflectiveandscientific 5

experience,andthatallformsofhumancoexistencearebasedonperception(Langer:xv). Langerstresses,thatthetaskofMerleauPontysphenomenologyistopointourattentiontoour primordialbondwiththeworld.Thisbondisabodily4 andprereflectiveintentionality.Andto LangerisThenotionofincarnatesubjectivity(...)centraltoMerleauPontysphenomenology (ibid:xv).Sotounderstandthisprimordialbondwiththeworld,wehavetotakebothourbody andoursurroundings5 intoaccountalongwiththewaytheyaffectus. Context ThereforeMerleauPontyproposesanintentionalitywhichisincloserdialoguewithour surroundings.Hethususesthetermcreation(fr:gense)toaccountfortheinterplaywithour surroundings.Ourconsciousnessisalwayspointedatsomething,butthissomethingisnot unchangeable.Ittransforms,moves,isbecoming.Wecannotfreezeourperceptionandthen stepbackandanalyzeit.Weareperceivingtheworldasawhole.Everythingperceivedis perceivedinonesense:Ilfautcomprendredetouteslesfaconslafois,toutaunsens (MerleauPonty,1945:19/xxi).Theperceivedispartofabiggerpicture.Itisinthiswaywe shouldunderstandperceptionaccordingtoMerleauPonty.Theperceivedistrueonlyifwedo notisolatelittleelementsofthebiggerpictureandtakeitoutofitscontext(See:ibid:19/xxi).To illuminatethispoint,MerleauPontyarguesthataphenomenon,likeaspot,cannotbeperceived initself.Itisonlybecauseofthespothavingabackgroundthatwecanperceiveit:Ceserait oublierquechaquepointsontournepeuttreperuquecommeunefiguresurunfond(ibid: 26/4).Asanexample,apaintingisnottobeunderstoodonlybyfocussingonalittlespotinthe leftcorner.Neitherbyexaminingtheoriginofthepainter,thelocationofthemotive,theartistic movementtowhichhecanbeascribedetc.Rather,wehavetounderstandapaintingasa whole,whereeverythinghasmeaning.Thepaintingispartofacontext.Ithasaplacewithin historywithwhatMerleauPontycallsunestructuredexistence6 (ibid:20/xxii).Thepaintinghas tobeunderstoodasbeingcreatedinacertaintimeandplaceinhistory,byapersonwitha existentialstructure.Thisincludehisbodilywayofcreatingit.Thekeytounderstand MerleauPontysnotionofperceptionispointingtowardsananalysisofthebody.Butaswithhis examplewithaspotasonlypossibletoperceivebecauseofitsbackground,ananalysisofthe bodyalsohavetotakeitssurroundingsandthetwosinterplay,intoaccount.Iwillthereforefocus
4

Bodilyconsciousnessisaprereflectiveconsciousness,asIwillshowlaterinananalysisofperceptionin relationtothebody. 5 Iwillusethewordsurroundingsinterchangeablewithobjectsortheworld. 6 Translatedasanexistentialstructureintheenglishedition

onoursurroundingsanditsrelationtoourbodies,beforeturningtoananalysisofthebody. Thephenomenologicalfield Whentalkingaboutintentionalityinrelationtoperception,wehavetounderstandexactlywhat MerleauPontymeansbyabroadernotionofintentionality.Itisnotonlytheclaimthatwehavea bodilyconsciousness,butalsothattheobjectsaroundusaffectusandarechargedwith meaning.Wesimplyperceivetheworldprereflectivelyinameaningfulway.Bymeaning MerleauPontyaimsatsomethingwhichcannotbeunderstoodonlybyreflection.Itisunmilieu perceptifquinestpasencorelemondeobjectif(Ibid:73/54).Thisdomain7 ofexperienceis somethingwecannotmakeintoanobjectofreflection.Hecallsitthephenomenalfield.Thisis thefieldwehavetofocusatinrelationtoourbody:howthetwointerplay.Wehavetoreflect uponthisfieldandhowweapproachanunderstandingofit.MerleauPontywrites:Larflexion nestvraimentrflexionquesiellenesemportepashorsellemme,seconnatcomme rflexionsurunirrflchi,etparconsquentcommeunchangementdestructuredenotre existence(Ibid:90/66).Wehavetoreflectuponthewaywereflect.Andfurtherwehaveto reflectuponthatwhichcannotbereflecteduponthephenomenalfield.Thismaysound contradictory,butthemeaningis,thatwehavetobeawareofthelimitsofreflection:whatwe canandwhatwecannotknowbyreflection.Soweshouldapproachanunderstandingofthe phenomenalfieldbyturningourfocusonthebody.Andwhatourbodyexpressesinrelationto thephenomenalfield.Iwillthereforeturntohisanalysisofthebodyanditsrelationtothe phenomenalfield. ThebodyPerspective Ourperspectiveontheworldisourbodies.Andthereasonwhywecanconsiderandanalyze objectsaroundusisthefactthatwearebodies.Ourbodyisthepointfromwhereourperception oftheobjectsaroundusstarts.Theseobjectsareperceivedwithourbodiesinrelationtoour horizon:Lhorizonestdonccequiassureidentitdelobjetaucoursdelexploration(Ibid: 96/78).Thehorizonisthatbackgroundwhichmakesitpossibletoperceiveobjects(cf.the spotexampledescribedearlier).Ourbody,theobjectandthehorizonareallconnectedand related.Inanintimateinterplaytheyarewhatconstituteperception.MerleauPontygivesa phenomenologicalanalysisofhowheperceivesahouse:thewayheexperiencethehouseis
7

ThewordmilieuistranslatedasdomaininColinSmithstranslation.MerleauPontylaterusestheword champ,whichistranslatedasfield.ItisthewordfieldIwillusefromnowon.

alwayscorrelatedwithhismovements.Tomovetwometerstotherightmakesanewaspectof thehouseappear.Thismeansthatwhatweperceiveiscloselyrelatedtoourbodyandtheway wemove.Further,wecanalsomakeourbodyanobjectofperception.Wecanlookat ourselves,andwecanreflectuponwhatweexperience.Soourbodyhasadoublefunction:first, itisourpointofview,fromwhereourperceptionisconstitutedinrelationtoobjectsandthe horizon.Second,itcanbeanobjectofexperienceatthesametime:anobjectivebody: MerleauPontyshowedinearlierchapters,perceptionisalwaysperspectivalandhastodowith figurebackgroundstructures.Toseeistoseefromsomewhere,andthiswherecanbe describedasapositionoftheobjectivebodywithreferencetoexternalobjects(Langer:41).But itisourbodilyprereflectiveperceptionwhichisprimordialinatemporalsense.Itisthe prereflectiveinterplaybetweenbody,objectsandhorizonwhichhastobeilluminatedinorderto understandthenatureofperception. Bodyobjectdialogue Toilluminatethisrelationbetweenbody,objectsandhorizon,MerleauPontystudiesacasewith abraindamagedwarveterannamedSchneider.Apathologicalcasewhichisintendedtodraw onesattention,inadramaticway,toeverydayabilitieswithwhichoneissofamiliarthatitis easynottonoticethematall(Hammond:181).Wesimplytakeourbody,andthewayweuseit, forgranted.Schneiderhaslosthisabilitytouseandadjusthisbodyproperlyinnew environments.Moreoverhefeelseverythingisreadymade,thatheisntincontrolofhisactions andheneverfeelsheisactingfreely(SeeLanger:43).Incontrast,normalandhealthypeople perceivetheworldandthemselvesdifferently:whenwemovearoundintheworld,we experiencethingsaroundusasmoreorlessmeaningful.Assomethingwecanuseanddo somethingwith.Asanexample,weseeabrush.Butwedonotjustlookindifferentlyatthis brushasadeadobject.Weseeitassomethingwecanpickup,paintwithandcreate somethingwith.Onaprereflectivelevel,thisbrushwillevokecertainmovementsinus: normally,peoplewillexperienceitassomethingwecanmovetowards,pickup,dipinpaintand paintsomethingwith.Thisrevealsacertainbondbetweenourbodiesandtheobjectsaroundus: ourprereflectiveperceptionoftheobjects.MerleauPontytalksaboutakindofcommunication withtheobjects:Cestcettefamiliarit,cettecommunicationaveclobjectquiestici interrumpue.Chezlenormallobjetestparlantetsignificatif,larrangementdescouleursveut diredemblequelquechose,tandisquechezlemaladelasignificationdoittreapporte dailleursparunvritableactedinterprtation(MerleauPonty,1945:164/151).Topeopleas 8

Schneider,thisexperienceofprereflectivesignification,whichischaracteristicfortheway normalpeopleperceive,islostordisturbed.Insteadhehastointerpretthroughreflectionwhat theobjectsaroundhimmeansandcanbeusedto. Habits Thisfocusontheobjectsandthewaytheyappearassomethingwecanuseandsomethingwe adjustourbodyinrelationto,pointstowardsacrucialshiftinthewayMerleauPonty understandsconsciousnessandperception:Laconscienceestoriginairementnonpasunje penseque,maisunjepeux(Ibid:171/159).Thefocusisonouractionsandonwhatwecan do.Wecanstructureourmovementsintohabits.Wecanrepeatmovements,andwecanlearn newwaystouseourbody.Thehabitsbecomeakindofknowledge:toknowhowtomovein relationtothegivensurroundings.Hetalksaboutbeingdou(s)dunephysionomietypiqueou familire(ibid:179/167).Ourhabitsisawaytoexerciseourbeingintheworldashuman beings.Further,ourmovementsbecomesapowertoinvestigatetheworldanditsobjects.To expandit,makeitbiggerandmorefamiliar:Lhabitudeexprimelepouvoirquenousavonsde dilaternotretreaumonde,oudechangerdexistenceennousannexantdenouveaux instruments(Ibid:179/166).Forinstance:say,wewishtohaveabreakfromwork.Westart walkingtowardsaforest.Wethenprereflectivelyorientateourbodyintherightdirectionand startmovingourlegs.Thesemovementsarehabitualwaysofusingourbody.Weknowhowto dothis.Wenowgettotheforestandseeabike.Wemightnevertriedtorideabike,butit evokesIcaninourbody.Wedecidetotryit.Wefindoutwecanmoveifwesitonitandstamp thepedals.Inthatwaywearedevelopinganewwayofusingourbody,anewhabitisbeing developed.Ourlegsandfeetstampandwemoveforwardeasierandfaster.Wehavegotoutof theforestandouttothesea.Ourhabitshaveledustothisexpansionofourbeing, MerleauPontytalkedabout.MerleauPontyusesdifferentexamplesofartistsandanalyzes phenomenologicallyhowtheyapproachtheirinstruments,howtheirbodiesadjustthemselvesin ordertousetheinstruments.Andconcludesthatlecorpsestminemmentunespace expressif(Ibid:181/169)andLecorpsestnotremoyengnraldavoirunmonde(Ibid: 182/169).Ourbodyisanexpressionofwhatweperceiveandhowweperceiveit.Itexpresses ourindividualbeingintheworld.ThisiswhyMerleauPontyusesthetermcreation,toaccount forourperception.OurperceptionoftheobjectsarounduscallforaprereflectiveIcaninus: wecandothingsandcreatethings.

Style Tofullyunderstandourbodyasacreativepower,wehavetogobacktothedescriptionof Merleaupontysstartingpointasexistential.Itisourpersonal,cultural,temporalplaceinhistory whichiswhereourinvestigationsmustdepart.Weallhaveadifferenthistorywithdifferent experiences.Whenexperiencingthesamesensationsrepeatedlyourbodywillgetcustomedto thesestimuli.Andovertimewewillreacttothesestimuliinahabitualway.MerleauPontyuses thenotionofstyletoaccountforourindividualbodilywayofreactingtostimuli:ourwayof moving,walking,ourposture,ouraccent:Cequirunitlessensationstactilesdemamainet lesrelieauxperceptionsvisuellesdelammemaincommeauxperceptionsdesautres segmentsducorps,cestuncertainstyledesgestesdemamain,quiimpliqueuncertainstyle desmouvementsdemesdoigtsetcontribuedautrepartunecertainalluredemoncorps.Ce nestpaslobjetphysiquequelecorpspeuttrecompar,maispluttloeuvredart(Ibid: 187/174).Thesensationswhichhavemetusthroughoutourlife,haveallcontributedtotheway wemoveandthewayweare.Apersongrownupinatoughneighborhood,whereitwasunsafe life,willreflectthisinthewayheis:thewayhemoves,hispostureetc.Hemightwalklikeheis inarush,withhischestraised,hisheadturningconstantlytoolookovertheshoulder:likeheis alwaysonthelookoutandalwaysreadytofightorflight.Thisappearancewouldbehisstyle. Langerconcludesonthis:wenowareinapositiontounderstandwhatMerleauPontymeans whenhesaysthatthebodyiscomparabletoaworkofartbecauseexpressionandwhatis expressedareindistinguishableinbothcases(Langer:53).Likeapaintermightexpresshisjoy bypaintinglightandcolorfulpictures.Abodymightexpressjoybydancing,smiling,laughing. Whatisexpressedandexpressionisintimatelybonded.Thereflectiveapproachhaveahard timeilluminatingthisbond,butartisticexpressionslikepaintingiswellsuitedforit. Discussion Artasarticulationofprereflectivity Theinvestigationssofarhasbeentofindouthowprereflectivityisbeingarticulatedby MerleauPonty.Ithasshownthatwehaveabodilyconsciousness,whichcanbeunderstoodas aprereflectiveperception.Weexpresswhatweperceiveprereflectively.Whatweperceiveand whatweexpressareindistinguishable.Thereforeourexpressionsareexactcorrelatedtowhat weperceive.Itcanthereforebeunderstoodasatrueexpression. Iwillnowshowmorecloselyhowartcanbeabodilyexpression,andthereforeanarticulationof prereflectiveperception.Ourhabitsandstyleareprereflectivelyexpressedwhenwedothings. 10

Alsowhenweexpressourselvesartistically.Anartworkhavethisadvantage,contraryto everydaymovements,thatitleavesatestimonyofourprereflectiveperceptions.ThereforeIwill turntoanexaminationofthelifeandworkofPaulCzanneinordertoargueforartasa prereflectivelyarticulation. Czannesapproach MerleauPontygivesacloseranalysisonartasanarticulationofourprereflectiveperceptionin theessayLedoutedeCzanne.Hedescribesasolitaryandveryspecialman,whofearlessly andstubbornlycontinuedtopainttheworldasheimmediatelyperceivedit.Hepaintedwithout anyhelporsupportfromtheoriesofcolor,perspectiveandcomposition.Heliterallylivedinhis painting:Lapeintureatsonmondeetsamaniredexister(MerleauPonty1966:15/9).He fledfromtheeverydaylifewithitsobligationsandsocialexpectationsandfoundhimselfsafe whenpaintinginquietpeace. Czannepaintedthephenomenonsastheyimmediatelyappearedtohim,withoutmakingthem objectsofreflection:ilveutpeindrelamatireentraindesedonnerforme,lordrenaissantpar uneorganisationspantane(Ibid:23/13).Hewantedtopainttheworldasitdirectlyand immediatelymethim.Hecriticizedtheoldmastersthattheyremplaaientlaralitpar limaginationetparlabstractionquilaccompagne(Ibid:21/12)andheproclaimedthathe wantedtounitenatureandart(seeIbid:22/13). Timeandchange Hetookaccountofhissurroundings.Thismeanthepaintedachangingworld.Hedidnotpaint theMontsaintevictoirenearAixenprovence(ashedidsomanytimes)bytakinga photographicsnapshotwithhisgaze.Andthenrecreatethissnapshotsoaccuratelyaspossible afterwards.Further,hisskillsandstateofmindwaschangingwiththeflowoftime:La perspectivevcue,celledenotreperception,nestpaslaperspectivegomtriqueou photographique(Ibid:24/14).Wehavealivedperspective:wecannotfreezeourperception andpaintitthewayitreallywas.Wehaveaprereflectivebondwiththeeverchanging phenomenonsaroundus.ItisthisbondwhichCzannearticulatesinhispaintings.Therefore, artisaprocesswhichneverends,becausetheworldisalwayschanging,andMerleauPonty concludes:Lexpressiondecequiexisteestunetcheinfinie(Ibid:26/15). Intuitivity 11

Czannecameacrossasstrangeandunapproachableineverydaylife.Buthispreservedletters anddocumentedconversationswithfriendsrevealamaninclosecontactwithhissurroundings whenhepainted:Lepaysage,disaitil,sepenseenmoietjesuissaconscience(Ibid:30/17). Bypainting,theworldcametoliveandhasindeedmeaningtohim.AsintheSchneidercase earlierexamined,whatweknowaboutCzanneis,thatlikeSchneider,heseemstolackthat interesttoengageineverydaylife.ItseemslikeCzanneneitherfeltthatattractiontoand meaninginhissurroundingsasnormalpeopledo.ThereforeCzannespaintingsandlifeleave amoreuncorruptedtestimonyofamansprereflectiveperception:Czannewassoimmersed intheworldwhichhadmeaningtohim,thepaintedworld,thatwethroughhispaintingsgeta raretestimonyofthiscommunicationbetweensubjectandobject,whichMerleauPontyargued for. Truth Czannearticulatedanotherkindoftruththanthenaturalisticsciences.MerleauPontywrites: Riennestplusloigndunaturalismequecettescienceintuitive(Ibid:30/17).Hissciencewas intuitiveandbaseduponprereflectiveperception.Hispaintingsleaveaunmediatedandintuitive testimonyofthenatureofperception.AndthisiswhatMerleauPontymeanswhenheinthe prefacedescribesartasrealisationoftruth.Artcanarticulatethewaytheworldisinitself: beforetheoriesandsciencebaseduponrationalreflection.Therefore,artrevealshowintimately weareconnectedwithoursurroundingsandhowtheyaffectus. ThisiswhatthephenomenologyofMerleauPontyshows.Wordsandlanguagearepracticalin thatsensetheyleaveanenduringtestimony.Though,theyrelyonarationalstructurebased uponreflection,complicatinganarticulationofourprereflectiveperception.Therefore MerleauPontyturnstothepaintingsofCzanne:apaintingleavesanenduringtestimonyofour bodilyandprereflectiveperception. Nietzsche ThestartingpointformydiscussionoftruthisMerleauPontysstatementinthepreface,thatart isarealisationoftruth.WhenMerleauPontywriteshisphenomenologyofperceptionandwrites aboutCzanneslifeandwork,hemustsomehowmeanthatwhathewritesistrue.Thatit makessense,iscoherentandmeaningfulinsomeway. Asstatedinthebeginningofthispaper,Nietzschehadanotherviewontruth.HestatedthatWe haveartinordernottodieofthetruth(Rapaport:11).ItisfromthisstatementRapaport 12

discussestheconnectionbetweenartandtruthinthelightofNietzscheswritings. IntheessayOntruthandliesinnonmoralsense(1873)Nietzschehastwomaincriticismson thenotionoftruth.First,thatmanhasanaturalinclinationtolie:wordsandconceptsarejust metaphorsforotherthings.Theyaresocialconventionswecreateinordertobeabletolive togetherinsociety.Forinstance:tolabelsomethingacowisjustametaphor.Thewordcowis notthecowitself.Itispracticaltohaveametaphorforacow,livinginasocietywhereweeat meatanddrinkmilk.Second,wedonotwantthetruth,accordingtoNietzsche.Itissimplytoo troublesomeandpainfultodealwith:Itisinasimilarlyrestrictedsensethatmannowwants nothingbuttruth:hedesiresthepleasant,lifepreservingconsequencesoftruth(Nietzsche: 18732/68 ).Ourrejectionoftruththusservestopreservelife,tobeincontrolandtoruleover otherpeople.Onewaytodothisistobepartofthegroup.SoNietzscheviewstruthasamatter ofgrouppsychology(Rapaport:14)accordingtoRapaport. AccordingtoNietzscheisthemainmotivationbehindthisisafundamentaldrivetowardsbeing strong,happy,creative,safe.(SeeIbid:Truththereforebecomesameantoexercisepower.And asaninstrumentwecanuseinourwilltodominateotherpeopleandourselves.Thinkofa politicalleaderwhowinsanelectionbecauseheclaimsheknowsthetruth:thathe,becauseof hisinsightandknowledge,knowstherightwaytorebuildacountry'seconomy.Rapaport describesNietzschesnotionoftruthasmotivatedbyhismistrustofhumanmotivations(Ibid: 13).Inthiscasethereisnodifferencebetweenareflectivescientistversusanintuitiveartist: Theybothdesiretoruleoverlife:theformer,byknowinghowtomeethisprincipleneedsby meansofforesight,prudence,andregularitythelatter,bydisregardingtheseneedsand,asan "overjoyedhero,"countingasrealonlythatlifewhichhasbeendisguisedasillusionandbeauty (Nietzsche:9/20).Neitherreflectiveorprereflectiveexpressionsaretrue,theyareonlya displacementoftruth,wedecidetocallthemtrueiftheyhavealifepreservingpurposetous. Basically,truthisnotattainable.WhenNietzschethereforeadvancesanaphorismthatasserts thetruththatthetruthinarthasnotruth,heisproposinganegativetheologythatisjustas groundedontruthasthestatementitistryingtoreplace(Rapaport:11).Theabsenceoftruthis onlybecomingthenewtruth.ButNietzschewaswellawarethatheonlyturnedtruth upsidedown. Themomentoftruth
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Iquoteanenglishtranslationfoundonlineandhaveexamineditsvalidityinrelationtotheoriginalgerman. Thefirstreferenceistotheenglishtranslation,secondreferenceistothegermantext.

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Truthcouldalsobeunderstoodasonlyattainableintheverymomentweexperienceit.Whatis indisputableisourperceptionrightnow.Whenwetalkaboutthemomentorreflectuponit,itis gone,andwecanonlyrefertoitwithmetaphors.InthissenseNietzschesclaimwehaveartin ordernottodieofthetruthmightexpressthataneternaltruthisimpossibletoreach,andourlife isthereforemeaningless.Butwecancreateandenjoyartinordertoliveintheillusionthattruth isnotoutofreach. MerleauPontyinlightofNietzschestruth SofollowingNietzschesthoughtsontruth,bothMerleauPontysphilosophyandCzannes paintingsareonlymetaphorsfortruth,andnotthetruththemselves.BothMerleauPontysand Czannesaspirationsarenolongersoglorious,butmerelytheirwaytoexercisepower. Nietzschesinterpretationsofourhumannatureseemstorevealsomepsychologicalinsights. Anditisimportanttostressthattheyareonlyinterpretations.Itisuptoeachoneofusifwefind themmeaningful. InthelightofNietzschesnotionoftruth,itisimportanttostressthatartisatestimonyofatrue perception.ThepaintingofCzannepointstowardshisprereflectiveperception:Aperception whichwastruetohim,inthemoment.Afterwardsthepaintingbecomesatestimonyof somethingwhichwastrue,orinNietzschesterminology,ametaphorfortruth.When MerleauPontywritesphilosophyandartcanbearealisationoftruth,heisreferringtothatwe canrealisetruthourselves.Artandphilosophyarenottruthsinthemselves,rathertheycan inspireeachoneofusinourownsearchformomentsoftruth. Conclusion ThepointofdepartureforMerleauPontysphenomenologicalanalysisisexistential.Wecannot stepoutsidetheworldandanalyseitthroughreflection.Rather,wehaveaprereflective perceptionoftheworld.TheworldaroundusappearmeaningfultousandevokesabodilyIcan inus,beforewereflectuponit.Wehaveabodilyconsciousnessandweexpressour prereflectiveperceptionwithourbodies.Ourperceptionandreactionstoeverydaythingsand objectsbecomeourhabit.Thesehabitsbecomeourstyle.Artcanarticulateourprereflective perceptionthroughourstyle.ThepaintingsofPaulCzannearticulatesatruetestimonyofhis prereflectiveperception.Though,accordingtoNietzschethenotionoftruthisjustametaphor inventedbecauseofpracticalreasons.

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Literaturelist: MerleauPonty,Maurice:PhnomnologiedelaPerception.1945,Gallimard. MerleauPonty,Maurice:PhenomenologyofPerception.2002,Routledge. MerleauPonty,Maurice:Sensetnonsens(ContainingtheessayLedoutedeCzanne).1966, cinquimedition.Nagel. MerleauPonty,Maurice:SenseandNonsense.1964,NorthwesternUniversityPress. Langer,MonikaM.:MerleauPontysPhenomenologyofPerceptionAguideandcommentary. 1989,MacmillanPress. Hammond,Michael.Howarth,Jane.Keat,Russell:Understandingphenomenology.1991,Basil Blackwell. Rapaport,Herman:Istheretruthinart?1997,Cornelluniversitypress. Nietzsche,Friedrich:NietzschesWerke,ZweiterBand,berWahrheitundLgeim aussermoralischenSinne.1921,AlfredKrnerVerlag,Stuttgart.Englishtranslation,foundonline June6.2013:http://imrl.usu.edu/6890/OnTruthandLies.pdf

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