Mauro Carbone – författare

In this first English publication of a well-known and widely respected Italian scholar, readers will encounter the preeminent interpreter of the works of Maurice Merleau-Ponty engaged in a dialogue of critical concern to contemporary philosophy. In subtle and sensitive language eminently suitable to the style and substance of Merleau-Ponty's own writings, Mauro Carbone fashions four essays around a theme - the relations of the sensible and the intelligible, and of philosophy and non-philosophy - that occupied Merleau-Ponty in his later work. An original and innovative interpretation of the ontology of Merleau-Ponty - and themselves a significant contribution to the field of Continental thought - these essays constitute a sustained exploration of what Merleau-Ponty detected, and greeted, as a ""mutation within the relations of man and Being,"" which would provide him with a basis for a new idea of philosophy or ""a-philosophy"". Carbone analyses key elements of Merleau-Ponty's thought in relation to Proust's ""Recherche"", Hegel's ""Phenomenology of Spirit"", the new biology of Von Uexkull, Rimbaud's ""Lettre du voyant"", and Heidegger's conception of ""letting-be"". His work clearly demonstrates the vitality of Merleau-Ponty's late revolutionary philosophy by following its most salient, previously unexplored paths.

Merleau-Ponty has long been known as one of the most important philosophers of aesthetics, yet most discussions of his aesthetics focus on visual art. This book corrects that balance by turning to Merleau-Ponty's extensive engagement with literature.From Proust, Merleau-Ponty developed his conception of "sensible ideas," from Claudel, his conjoining of birth and knowledge as "co-naissance," from Valéry came "implex" or the "animal of words" and the "chiasma of two destinies." Literature also provokes the questions of expression, metaphor, and truth and the meaning of a Merleau-Pontian poetics.The poetic of Merleau-Ponty is, the book argues, a poetic of the flesh, a poetic of mystery, and a poetic of the visible in its relation to the invisible. Ultimately, theoretical figures or "figuratives" that appear at the threshold between philosophy and literature enable the possibility of a new ontology. What is at stake is the very meaning of philosophy itself and its mode of expression.

Merleau-Ponty has long been known as one of the most important philosophers of aesthetics, yet most discussions of his aesthetics focus on visual art. This book corrects that balance by turning to Merleau-Ponty's extensive engagement with literature.From Proust, Merleau-Ponty developed his conception of "sensible ideas," from Claudel, his conjoining of birth and knowledge as "co-naissance," from Valéry came "implex" or the "animal of words" and the "chiasma of two destinies." Literature also provokes the questions of expression, metaphor, and truth and the meaning of a Merleau-Pontian poetics.The poetic of Merleau-Ponty is, the book argues, a poetic of the flesh, a poetic of mystery, and a poetic of the visible in its relation to the invisible. Ultimately, theoretical figures or "figuratives" that appear at the threshold between philosophy and literature enable the possibility of a new ontology. What is at stake is the very meaning of philosophy itself and its mode of expression.

Draws from twentieth-century French thought on film and aesthetics to address the philosophical significance of the pervasiveness of screens in contemporary technological life as well as the mutation of philosophy that such a pervasiveness seems to require.In The Flesh of Images, Mauro Carbone analyzed Merleau-Ponty's interest in film and modern painting as it relates to his aesthetic theory and as it illuminates our contemporary relationship to images. Philosophy-Screens broadens the work undertaken in this earlier book, looking at the ideas of other twentieth-century thinkers concerning the relationship between philosophy and film, and extending that analysis to address our experience of electronic and digital screens in the twenty-first century. In the first part of the book, Carbone examines the ways that Sartre, Merleau-Ponty, Lyotard, and Deleuze grappled with the philosophical significance of cinema as a novel aesthetic medium unfolding in the twentieth century. He then considers the significance of this philosophical framework for understanding the digital revolution, in particular the extent to which we are increasingly and comprehensively connected with screens. Smartphones, tablets, and computers have become a primary referential optical apparatus for everyday life in ways that influence the experience not only of seeing but also of thinking and desiring. Carbone's Philosophy-Screens follows Deleuze's call for "a philosophy-cinema" that can account for these fundamental changes in perception and aesthetic production, and adapts it to twenty-first-century concerns.

Draws from twentieth-century French thought on film and aesthetics to address the philosophical significance of the pervasiveness of screens in contemporary technological life as well as the mutation of philosophy that such a pervasiveness seems to require.In The Flesh of Images, Mauro Carbone analyzed Merleau-Ponty's interest in film and modern painting as it relates to his aesthetic theory and as it illuminates our contemporary relationship to images. Philosophy-Screens broadens the work undertaken in this earlier book, looking at the ideas of other twentieth-century thinkers concerning the relationship between philosophy and film, and extending that analysis to address our experience of electronic and digital screens in the twenty-first century. In the first part of the book, Carbone examines the ways that Sartre, Merleau-Ponty, Lyotard, and Deleuze grappled with the philosophical significance of cinema as a novel aesthetic medium unfolding in the twentieth century. He then considers the significance of this philosophical framework for understanding the digital revolution, in particular the extent to which we are increasingly and comprehensively connected with screens. Smartphones, tablets, and computers have become a primary referential optical apparatus for everyday life in ways that influence the experience not only of seeing but also of thinking and desiring. Carbone's Philosophy-Screens follows Deleuze's call for "a philosophy-cinema" that can account for these fundamental changes in perception and aesthetic production, and adapts it to twenty-first-century concerns.

Approches philosophique, littéraire et esthétique autour de l''interrogation innovante et audacieuse de la notion fondamentale qu''est le sujet dans l''art.« Il n’y a pas de sujets. Il n’y a qu’un sujet : celui qui écrit. » Envisagées tant du point de vue de l’œuvre que du point de vue de l’artiste, ces questions nous rejettent aux limites de la pensée esthétique, sur ces marges où se font et se défont aussi bien la stabilité de l’œuvre que l’individuation du créateur. Or il est remarquable que ces marges soient les lieux qu’explorent par prédilection les artistes (Proust entre autres) et les philosophes (Kant, Deleuze... ). Ce volume emprunte les cheminements croisés de la littérature, de la philosophie et de l’esthétique pour mettre à l’épreuve l’idée d’un art sans sujet. Façons de cerner mieux la place et la nature de ce concept central et incertain, massif et fuyant, nécessaire et hasardeux?: le sujet de l’art.

Approches philosophique, littéraire et esthétique autour de l''interrogation innovante et audacieuse de la notion fondamentale qu''est le sujet dans l''art.« Il n’y a pas de sujets. Il n’y a qu’un sujet : celui qui écrit. » Envisagées tant du point de vue de l’œuvre que du point de vue de l’artiste, ces questions nous rejettent aux limites de la pensée esthétique, sur ces marges où se font et se défont aussi bien la stabilité de l’œuvre que l’individuation du créateur. Or il est remarquable que ces marges soient les lieux qu’explorent par prédilection les artistes (Proust entre autres) et les philosophes (Kant, Deleuze... ). Ce volume emprunte les cheminements croisés de la littérature, de la philosophie et de l’esthétique pour mettre à l’épreuve l’idée d’un art sans sujet. Façons de cerner mieux la place et la nature de ce concept central et incertain, massif et fuyant, nécessaire et hasardeux?: le sujet de l’art.

This book shows that screens don’t just distribute the visible and the invisible, but have always mediated our body's relationships with the physical and anthropological-cultural environment. By combining a series of historical-genealogical reconstructions going back to prehistoric times with the analysis of present and near-future technologies, the authors show that screens have always incorporated not only the hiding/showing functions but also the protecting/exposing ones, as the Covid-19 pandemic retaught us. The intertwining of these functions allows the authors to criticize the mainstream ideas of images as inseparable from screens, of words as opposed to images, and of what they call “Transparency 2.0” ideology, which currently dominates our socio-political life. Moreover, they show how wearable technologies don’t approximate us to a presumed disappearance of screens but seem to draw a circular pathway back to using our bodies as screens. This raises new relational, ethical, and political questions, which this book helps to illuminate.

This book shows that screens don’t just distribute the visible and the invisible, but have always mediated our body's relationships with the physical and anthropological-cultural environment. By combining a series of historical-genealogical reconstructions going back to prehistoric times with the analysis of present and near-future technologies, the authors show that screens have always incorporated not only the hiding/showing functions but also the protecting/exposing ones, as the Covid-19 pandemic retaught us. The intertwining of these functions allows the authors to criticize the mainstream ideas of images as inseparable from screens, of words as opposed to images, and of what they call “Transparency 2.0” ideology, which currently dominates our socio-political life. Moreover, they show how wearable technologies don’t approximate us to a presumed disappearance of screens but seem to draw a circular pathway back to using our bodies as screens. This raises new relational, ethical, and political questions, which this book helps to illuminate.

Chiasmi International 12 presents an extraordinary, unpublished extract from the first course Merleau-Ponty taught at the Collège de France. It is one of the few places where he speaks of cinema and its literal sense of movement. Thus, a “Special Section” called “Cinema and the Philosophy of Movement” is devoted to this topic. It contains six essays, two of which were written by Chiasmi International editors, Mauro Carbone and Pierre Rodrigo. Moreover, this issue collects a wide scope of essays, focusing specially on Merleau-Ponty’s ontology and on his reflection about dance and painting. It also presents two particularly remarkable texts: an article by Renaud Barbaras, Editor Emeritus of our journal, and an interview with Andrea Camilleri, the famous Italian detective novelist, whose works were influenced by Merleau-Ponty. Texts by: Renaud Barbaras, Andrea Camilleri, Mauro Carbone, Anna Caterina Dalmasso, Caterina Di Rienzo, Antonino Firenze, Simone Frangi, Koji Hirose, Takashi Kakuni, Tetsuya Kono, Stefan Kristensen, Maurice Merleau-Ponty, David Morris, Søren Gosvig Olesen, Pierre Rodrigo, Claudio Rozzoni, Davide Scarso, Eva-Maria Simms, Tanja Staehler, Luís António Umbelino, Luca Vanzago, Keith Whitmoyer.

ANTHROPOCENE AND CRITICAL PHENOMENOLOGY. CRITICAL PHENOMENOLOGY AFTER MERLEAU-PONTY (PART II). AROUND MERLEAU-PONTY. TEXTS BY Nicola Banwell, Gael Caignard, Myriam Coté, Stanislas De Courville, Gianluca De Fazio, Elena De Silvestri, Luca Fabbris, Emmanuel Falque, Giovanni Fava, Lisa Guenther, Galen A. Johnson, Rajiv Kaushik, Corinne Lajoie, Emily S. Lee, Federico Leoni, Paolo Missiroli, Cinzia Orlando, Pietro Pasquinucci, Marie-Anne Perreault, Stéphanie Perruchoud, Andrea Pitts, Joel Michael Reynolds, Camille Roelens, Tristana Martin Rubio, Davide Scarso, Alessandra Scotti, Jenny Slatman, Bryan Smyth, Ted Toadvine

Philosophical interpretation of Proust based on the work of Merleau-Ponty and Deleuze.French novelist Marcel Proust made famous "involuntary memory," a peculiar kind of memory that works whether one is willing or not and that gives a transformed recollection of past experience. More than a century later, the Proustian notion of involuntary memory has not been fully explored nor its implications understood. By providing clarifying examples taken from Proust's novel and by commenting on them using the work of French philosophers Maurice Merleau-Ponty and Gilles Deleuze, Italian philosopher Mauro Carbone interprets involuntary memory as the human faculty providing the involuntary creation of our ideas through the transformation of past experience. This rethinking of the traditional way of conceiving ideas and their genesis as separated from sensible experience-as has been done in Western thought since Plato-allows the author to promote a new theory of knowledge, one which is best exemplified via literature and art much more than philosophy.

Philosophical interpretation of Proust based on the work of Merleau-Ponty and Deleuze.French novelist Marcel Proust made famous "involuntary memory," a peculiar kind of memory that works whether one is willing or not and that gives a transformed recollection of past experience. More than a century later, the Proustian notion of involuntary memory has not been fully explored nor its implications understood. By providing clarifying examples taken from Proust's novel and by commenting on them using the work of French philosophers Maurice Merleau-Ponty and Gilles Deleuze, Italian philosopher Mauro Carbone interprets involuntary memory as the human faculty providing the involuntary creation of our ideas through the transformation of past experience. This rethinking of the traditional way of conceiving ideas and their genesis as separated from sensible experience-as has been done in Western thought since Plato-allows the author to promote a new theory of knowledge, one which is best exemplified via literature and art much more than philosophy.

Highlights Merleau-Ponty's interest in film and connects it to his aesthetic theory.In The Flesh of Images, Mauro Carbone begins with the point that Merleau-Ponty's often misunderstood notion of "flesh" was another way to signify what he also called "Visibility." Considering vision as creative voyance, in the visionary sense of creating as a particular presence something which, as such, had not been present before, Carbone proposes original connections between Merleau-Ponty and Paul Gauguin, and articulates his own further development of the "new idea of light" that the French philosopher was beginning to elaborate at the time of his sudden death. Carbone connects these ideas to Merleau-Ponty's continuous interest in cinema-an interest that has been traditionally neglected or circumscribed. Focusing on Merleau-Ponty's later writings, including unpublished course notes and documents not yet available in English, Carbone demonstrates both that Merleau-Ponty's interest in film was sustained and philosophically crucial, and also that his thinking provides an important resource for illuminating our contemporary relationship to images, with profound implications for the future of philosophy and aesthetics. Building on his earlier work on Marcel Proust and considering ongoing developments in optical and media technologies, Carbone adds his own philosophical insight into understanding the visual today.

Highlights Merleau-Ponty's interest in film and connects it to his aesthetic theory.In The Flesh of Images, Mauro Carbone begins with the point that Merleau-Ponty's often misunderstood notion of "flesh" was another way to signify what he also called "Visibility." Considering vision as creative voyance, in the visionary sense of creating as a particular presence something which, as such, had not been present before, Carbone proposes original connections between Merleau-Ponty and Paul Gauguin, and articulates his own further development of the "new idea of light" that the French philosopher was beginning to elaborate at the time of his sudden death. Carbone connects these ideas to Merleau-Ponty's continuous interest in cinema-an interest that has been traditionally neglected or circumscribed. Focusing on Merleau-Ponty's later writings, including unpublished course notes and documents not yet available in English, Carbone demonstrates both that Merleau-Ponty's interest in film was sustained and philosophically crucial, and also that his thinking provides an important resource for illuminating our contemporary relationship to images, with profound implications for the future of philosophy and aesthetics. Building on his earlier work on Marcel Proust and considering ongoing developments in optical and media technologies, Carbone adds his own philosophical insight into understanding the visual today.