The sense of space by Morris, David; Merleau-Ponty, Maurice

By Morris, David; Merleau-Ponty, Maurice

A phenomenological account of spatial conception relating to the lived body.

The feel of Space brings jointly area and physique to teach that house is a plastic surroundings, charged with which means, that displays the specific personality of human embodiment within the complete diversity of its relocating, perceptual, emotional, expressive, developmental, and social capacities. Drawing at the philosophies of Merleau-Ponty and Bergson, in addition to modern psychology to strengthen a renewed account of the relocating, perceiving physique, the booklet means that our feel of area eventually displays our moral kinfolk to other folks and to the areas we inhabit.

“Readers attracted to embodiment should still locate the booklet interesting.” — University of Toronto Quarterly

"I just like the blend of sober scholarship with creative concept and writing. David Morris is totally at domestic in phenomenology, whereas being rather an expert of current and pertinent clinical literature. Having mastered either, he creates a dynamic rigidity among them, exhibiting how each one can fructify the opposite, albeit in very alternative ways. the result's actually impressive.

"This is a really infrequent e-book in lots of methods. First, it at once engages clinical literature that treats the adventure of area; no longer on the grounds that Merleau-Ponty himself has there been a similar engagement. moment, it institutes a full of life debate with this literature that indicates how a distinct version from that of science—including ecological technological know-how as practiced by way of J. J. Gibson and dynamics platforms theory—is required so as to keep away from positing a ready-made international taken without any consideration, in any other case an unlimited regress of versions. 3rd, Morris attracts in daily stories of area and position so as to elucidate the deep challenge of depth—a challenge that heretofore has now not been elucidated so intelligently and imaginatively resolved. Fourth, he adopts a developmental viewpoint on notion and movement that makes his paintings nearly specified and that brings extra gentle to undergo at the query of intensity. 5th, Morris explores the consequences of his version of intensity for the event of position in human experience—a daring venture that succeeds remarkably good. In sum, it is a groundbreaking work." — Edward S. Casey, writer of Imagining: A Phenomenological research, moment Edition

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Since the figure gives no basis for comparing objective size, it is misguided to call the phenomenon an error of size perception, an illusion (PP 12/6). On the moon, with its weaker gravitational field, an apple will feel lighter than the same apple on earth; does this mean you are in error about the apple, since its mass remains the same? No, your perception is correct. With respect to perceived weight, the apple on the moon and the apple on the earth are not quite the same apple. It is as if they belong to different ‘universes’ of weight.

While there is no recipe, there is nonetheless something definitive of a wiggle. More, what is definitive of a wiggle is not just in the wiggler, but in the wiggled: wiggling is not really appropriate to a wine bottle, the wiggle of a glass would have a different amplitude and frequency than the wiggle of a cork, and you just cannot wiggle a house. The vague identity of the wiggle is central to the concept of style. How do I know that this music, this painting, this movement is in a given style, or that so and so has a particular style of walking?

This page intentionally left blank. PART I THE MOVING SENSE OF THE BODY This page intentionally left blank. CHAPTER 1 THE MOVING SCHEMA OF PERCEPTION I AM TRYING TO WRITE the opening sentences of this chapter. I reach for my pen, which is sitting to the left of my coffee-filled cup, move the pen toward the paper, twiddle it, attempt a drawing of the cup, realize I am no artist, put the pen down on the right side of my cup, take up the cup and drink the coffee just to have something to actually do, as if emptying the cup will somehow repair the emptiness of the page.

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