The musicality of the other
Schutz, Merleau-Ponty, and Kimura
[T]his savage vision of the painter ... is the same as and, at the same time, totally different from what I called the savage mind (la pensée sauvage). I concur with Merleau-Ponty in recognizing that both tap ‘this expanse of brute sense about which activism does not want to know anything’ (L’Œil et l’esprit, p. 13), but, while I seek the logic of this brute sense, in his case this brute sense is anterior to all logic (The Visible and the Invisible, p. 222). In sum, what constitutes explanation for Merleau-Ponty does for me nothing more than enunciate the givens of the problem and delimit the phenomenal plane from which it will become possible, and necessary, to explain.2
Kazashi, N. (1995)., The musicality of the other: Schutz, Merleau-Ponty, and Kimura, in S. Crowell (ed.), The prism of the self, Dordrecht, Springer, pp. 171-188.
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