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Sarah Greifenstein & Hauke Lehmann (2013). "Manipulation der Sinne im Modus des Suspense" In: Cinema Jahrbuch, Vol. 58 ("Manipulation"), S. 102-112.
2019 •
2011 •
The thesis defended is that ordinary perception does not present us with the existential independence of its objects from itself. The phenomenology of ordinary perception is mute with respect to the subject-object distinction. I call this view "phenomenal neutral monism" : though neutral monists are wrong about the metaphysics of perception (in every perceptual episode, there is a distinction between the perceptual act and its perceptual objet), they are right about its phenomenology. I first argue that this view is not as counter-intuitive as it might initially seem, by stressing (i) that the lack of presentation of the mind-independence of perceptual objects does not entail their being presented as mind-dependent. (ii) That phenomenal neutral monism is true of ordinary perception in the thin sense, but not in the thick sense (that includes expectations, guesses, feelings etc. grounded on thin perception). (iii) That the concept of a perceptual perspective or point of view should not be confused with the concept of the subject or intentional act of perception. Second, I propose three positive arguments in favor of phenomenal neutral monism. (i) It does justice to the recurring idea that only resistance to our will presents us with the world qua independent from us. (ii) It does justice to the recurring idea that the most natural attitude towards the perceptual world is that of being absorbed in it. (iii) It is entailed by the view that intentional acts are phenomenally transparent (a view held by Russell and Moore, and most contemporary representationalists) together with the view that in order to be presented with a relation (here the act-object distinction) one has to be presented with its relata.
2007 •
Désir, synesthésie et pulsion scopique fondent cette oeuvre minimaliste de Mary Sherman qui demande « What if you could hear a painting? ». La peinture est le coeur palpitant de cette installation qui, pourtant, se manifeste par le son qui inonde l’espace. C'est ce continuum, mis en oeuvre techniquement, entre perception visuelle et perception auditive qui fait l’objet de cet article. On se penchera plus précisément sur l’audification, qui est une des catégories taxonomiques de la sonification, qui ici atomise acoustiquement la peinture dans la galerie en venant toucher notre corps tout entier.
Quand j'ai parcouru l'oeuvre de Jean-Philippe Toussaint, il m'a rapidement semblé que roman après roman, l'écrivain s'attachait à proposer des récits mentaux ou pour reprendre l'expression d'Olivier Bessard-Banquy des « livre[s] en pensée ». Mais cet espace mental que l'histoire de la littérature n'a cessé d'explorer, de rendre visible, voire de complexifier dans ses flux de conscience, de raffiner à force de tropismes, il m'a paru singulièrement opaque dans l'oeuvre de Toussaint. Prostration silencieuse, distraction permanente, échappée dilatoire : à qui voudrait explorer les labyrinthes mentaux de cette oeuvre romanesque, l'auteur obstinément, régulièrement, maniaquement, oppose une stratégie de l'obstacle et de l'opacité.
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