This seminar explores relationships between phenomenology (Merleau-Ponty's embodied orientations in particular), art practice and theory. Within this context, we will consider the implications of Merleau-Ponty's philosophical practice for contemporary approaches to art history and theory. At issue here is not only that he made the experiences of artists paradigmatic for his non-dualistic re-thinking of thought. Also at issue is his claim that phenomenology is "a matter of describing, not of explaining or analysing"
( Phenomenology of Perception , 1945) and his definition of art, especially painting, as a procedure that draws upon a pre-objective “fabric of brute meaning which activism would prefer to ignore" (‘Eye and Mind’ 1961). A question that arises is this: how can we be orientated within culture in a way that is not immediately about attempting to explain, judge or manipulate it but that is nonetheless 'critical'? Following Merleau-Ponty, we will turn to various mainly contemporary artworks in order to discover possible responses. Teaching is through a combination of discussion and lectures. These will be organised into two ‘blocks’. The first engages with key phenomenological/Merleau-Pontean strategies and concepts and is focused on the period between 1945 to 1961. Here, we will consider Merleau-Ponty's intellectual work in relation to that of Jean-Paul Sartre and Simone de Beauvoir. In the second block we bring Merleau-Pontean perspectives into conversation with various recent theorisations of materiality, in the writing of Giorgio Agamben, Jean-Luc Nancy, Kaja Silverman, Fred Moten, and others. Assessment is based on a seminar presentation and an end of term essay for which independent research will have been carried out. A course reader will be available containing key texts at an estimated overall cost of $40-50. However, for a general introduction to phenomenology you may like to look at Dermot Moran, Introduction to Phenomenology (Routledge, 2000). Galen A Johnson (ed), The Merleau-Ponty Aesthetics Reader: Philosophy and Painting (Northwestern UP, 1993) usefully brings together primary texts by Merleau-Ponty and critical essays by Merleau-Ponty scholars and is worth buying. See also Paul Carter, Material Thinking (Melbourne UP, 2004) which covers similar territory to our own but in relation to different art-making and theoretical sources. Estimated cost of materials: less than $50.
( Phenomenology of Perception , 1945) and his definition of art, especially painting, as a procedure that draws upon a pre-objective “fabric of brute meaning which activism would prefer to ignore" (‘Eye and Mind’ 1961). A question that arises is this: how can we be orientated within culture in a way that is not immediately about attempting to explain, judge or manipulate it but that is nonetheless 'critical'? Following Merleau-Ponty, we will turn to various mainly contemporary artworks in order to discover possible responses. Teaching is through a combination of discussion and lectures. These will be organised into two ‘blocks’. The first engages with key phenomenological/Merleau-Pontean strategies and concepts and is focused on the period between 1945 to 1961. Here, we will consider Merleau-Ponty's intellectual work in relation to that of Jean-Paul Sartre and Simone de Beauvoir. In the second block we bring Merleau-Pontean perspectives into conversation with various recent theorisations of materiality, in the writing of Giorgio Agamben, Jean-Luc Nancy, Kaja Silverman, Fred Moten, and others. Assessment is based on a seminar presentation and an end of term essay for which independent research will have been carried out. A course reader will be available containing key texts at an estimated overall cost of $40-50. However, for a general introduction to phenomenology you may like to look at Dermot Moran, Introduction to Phenomenology (Routledge, 2000). Galen A Johnson (ed), The Merleau-Ponty Aesthetics Reader: Philosophy and Painting (Northwestern UP, 1993) usefully brings together primary texts by Merleau-Ponty and critical essays by Merleau-Ponty scholars and is worth buying. See also Paul Carter, Material Thinking (Melbourne UP, 2004) which covers similar territory to our own but in relation to different art-making and theoretical sources. Estimated cost of materials: less than $50.