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Phenomenology of Perception (Merleau-Ponty, 1945, 1962)
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Challenging and rewarding in equal measure, Phenomenology of Perception is Merleau-Ponty's most famous work.
 
Impressive in both scope and imagination, it uses the example of perception to return the body to the forefront of philosophy for the first time since Plato. Drawing on case studies such as brain-damaged patients from the First World War, Merleau-Ponty brilliantly shows how the body plays a crucial role not only in perception but in speech, sexuality and our relation to others.
 
This is truly one of the most brilliant works of philosophy ever written. 
-Brian C.  4 reviewers made a similar statement
 
 

xi Perception is not a science of the world, it is not even an act, a deliberate taking up of a position; it is the background from which all acts stand out, and is presupposed by them.
 
xviii To seek the essence of perception is to declare that perception is, not presumed true, but defined as access to truth.
 
xx Whether we are concerned with a thing perceived, a historical event or a doctrine, to 'understand' is to take in the total intention
 
p.4 The perceptual 'something' is always in the middle of something else, it always forms part of a 'field'.
 
p.8 Behaviour is thus hidden by the reflex, the elaboration and patterning of stimuli, by a longitudinal theory of nervous functioning, which establishes a theoretical correspondence between each element of the situation and an element of the reaction.
 
p.8 As in the case of the reflex arc theory, physiology of perception begins by recognizing an anatomical path leading from a receiver through a definite transmitter to a recording station, equally specialized.
 
p.33 Empiricism cannot see that we need to know what we are looking for, otherwise we would not be looking for it, and intellectualism fails to see that we need to be ignorant of what we are looking for, or equally again we should not be searching. They are in agreement in that neither can grasp consciousness in the act of learning, and that neither attaches due importance to that circumscribed ignorance, that still empty but already determinate intention which is attention itself.
 
p.34 The first operation of attention is, then, to create for itself a field, either perceptual or mental, which can be 'surveyed'... in which movements of the exploratory organ or elaborations of thought are possible, but in which consciousness does not correspondingly lose what it has gained and, moreover, lose itself in the changes it brings about.
 
p.57 One phenomenon releases another... by the meaning which it holds out - there is a raison d'etre [JLJ - reason for being] for a thing which guides the flow of phenomena without being explicitly laid down in any one of them, a sort of operative reason.
 
p.91 In fact the reflexes themselves are never blind processes: they adjust themselves to a 'direction' of the situation, and express our orientation towards a 'behavioural setting'... They trace out from a distance the structure of the object without waiting for its point by point stimulation. It is this global presence of the situation which gives a meaning to the partial stimuli and causes them to acquire importance, value or existence for the organism.
 
p.92 It [The reflex] causes them [objective stimuli] to exist as a situation, it stands in a 'cognitive' relation to them, which means that it shows them up as that which it is destined to confront. The reflex, in so far as it opens itself to the meaning of a situation, and perception; in so far as it does not first of all posit an object of knowledge and is an intention of our whole being, are modalities of a pre-objective view which is what we call being-in-the-world.
 
p.92 Prior to stimuli and sensory contents, we must recognize a kind of inner diaphragm which determines, infinitely more than they do, what our reflexes and perceptions will be able to aim at in the world, the area of our possible operations, the scope of our life.
 
p.100 From our point of view, a sensori-motor circuit is, within our comprehensive being in the world, a relatively autonomous current of existence. Not that it always brings to our total being a separable contribution, but because under certain circumstances it is possible to bring to light constant responses to stimuli which are themselves constant... as we have shown elsewhere, sensori-motor circuits are all the more clearly marked as one is concerned with more integrated existences
 
p.107 the originality of the movements which I perform with my body: they directly anticipate the final situation, for my intention initiates a movement through space merely to attain the objective initially given at the starting point; there is as it were a germ of movement which only secondarily develops into an objective movement.
 
p.129 all these operations require the same ability to mark out boundaries and directions in the given world, to establish lines of force, to keep perspectives in view, in a world, to organize the given world in accordance with the projects of the present moment, to build into the geographical setting a behavioural one, a system of meanings outwardly expressive of the subject’s internal activity... for the normal person his projects... [bring] magically to view a host of signs which guide action, as notices in a museum guide the visitor.
 
p.151 in the normal person the subject's intentions are immediately reflected in the perceptual field, polarizing it, or placing their seal upon it, or setting up in it, effortlessly, a wave of significance.
 
p.157 Let us therefore say rather, borrowing a term from other works, that the life of consciousness - cognitive life, the life of desire or perceptual life - is subtended by an 'intentional arc' which projects round about us our past, our future, our human setting, our physical, ideological and moral situation, or rather which results in our being situated in all these respects. It is this intentional arc which brings about the unity of the senses, of intelligence, of sensibility and motility.
 
p.191 At every moment some intention springs afresh from me, if it is only towards the things round about me which catch my eye, or towards the instants, which are thrown up, and which thrust back into the past what I have just lived through.
 
p.291 What counts for the orientation of the spectacle is not my body as it in fact is, as a thing in objective space, but as a system of possible actions, a virtual body with its phenomenal 'place' defined by its task and situation. My body is wherever there is something to be done.
 
p.471 There is vision only through anticipation and intention

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