Merleau-Ponty’s radical reflection conceptualizes the transcendental and the empirical as intertwined, emerging only via an écart. I advance this concept of transcendental empirical écart by studying the problem of measurement in science, in both general and quantum mechanical contexts. Section one analyses scientific problems of measurement, focusing on issues of temporality, to show how measurement entails a transcendental that diverges with the empirical. Section two briefly interprets this result via Merleau-Ponty’s concept of depth, to indicate how measurement reveals a temporality (...) that is not an already given ground that would guarantee the transcendental in advance: temporality is instead ‘deep,’ itself engendering a divergence of transcendental and empirical operations that first allows for measurement and sense. (shrink)

The original Gallimard edition of Merleau-Ponty’s last-published essay, "Eye and Mind," which was printed as a slim, separate volume containing only this essay, includes a visual preface of seven artworks, chosen by Merleau-Ponty. This essay takes the key assertion of "Eye and Mind"—that rather than seeing depth as the “third dimension,” as seen traditionally, “if [depth] were a dimension, it would be the first one” (180)—and applies it to the reading of these artworks preceding the text. There is an analysis (...) of how and why depth is the first rank in not only rethinking art, but also in rethinking Being itself. The development of the idea of depth as the going together of incompossibles in time and in space is explored by turning to Merleau-Ponty’s texts, beginning with the Phenomenology of Perception through to his last works. The last section of the essay carefully analyses six of the seven visual works of art (omitting Cézanne about whom so much has been written) to see the ways in which they instantiate this new notion of depth as the motive force of art and the heart of the flesh of the world. (shrink)

The concept of depth is central to Merleau-Ponty’s phenomenology and informed not only his philosophy of perception but also his thinking about psychology, art and politics. This article traces the ways the notion of depth appears in Merleau-Ponty’s thinking in these fields, contrasting it with Husserl’s own phenomenological investigations. The article starts with a comparison of the function of perception in Husserl’s phenomenology and then proceeds with an analysis of how the issue of depth reappears in Merleau-Ponty’s phenomenology of perception, (...) phenomenology of art and political philosophy. I argue that while Husserl’s approach to phenomenology led him to analyses of aesthetics stemming from works of art as random examples, and to non-participation in politics, Merleau-Ponty’s phenomenology leads to the opposite approach, inviting concrete criticism in art and active participation in politics. It is argued that Merleau-Ponty’s approach is more philosophically consistent. The choice of particular works of art, and the particular political engagements, can retrospectively clarify the transcendental phenomenological investigations themselves. (shrink)

The everyday experience of someone, or something, getting in one’s face reveals a depth that is the difference between a world that is intrusive and a world that is respectful. This depth, I argue, should be conceived, not in feet and inches, but in terms of violation and honor. I explore three factors that contribute to this depth’s emergence. First, I examine our body’s capacity, at the level of sense experience, for giving the world a figure/ground structure; this structure insures (...) that most of the world we are in constant contact with, nonetheless, keeps its distance as background. I demonstrate the importance of this figure/ground structure to the depth of our world by considering the experience of people with autism; for those with autism, this structure seems to be, if not entirely missing, at least substantially less robust than our own. Next, I examine our body’s ability, at the level of more personal experience, to handle the world; our handling of the world, which rests on the acquisition of specific skills, transforms things that could easily assault us into the usually motionless objects we tend to take for granted. I demonstrate the importance of these skills to the depth of our world by considering the experience of Gregg Mozgalla; until recently, Mozgalla, who has cerebral palsy, could only lurch, rather than walk, through the world. Finally, I draw on the work of the artist Mierle Ukeles to examine the maintenance work that other people, at a broader social level, perform; other’s maintenance work keeps in good condition a world that, by falling into bad condition, could easily intrude on us. (shrink)