Comparative Study of Deleuze “Body Without Organs” and Merleau-Ponty’s “The Living Body” Physical Interaction with Sensory Perception and Contemporary Art
Article Sidebar
Main Article Content
Abstract
The French philosopher Gilles Deleuze was more concerned with the concept of the body in comparison to other French poststructuralist theorists. On the other hand, Merleau-Ponty was a French existentialist and phenomenological philosopher, known for his emphasis on the role of body in the cognitive science, and among the philosophers is known as the philosopher of the body. The body without organs is a term taken from Antonin Artaud. Deleuze in his philosophy, emphasizes fluidity and consonance with the world, and considers the organism to be the prisoner of life. He considers emotion as a force that brings man from potential to actual moment and counts the foundation of art on sensory perception. The purpose of art for him is to convey the sense of things that lead to the registration of forces by the surface of the body. Merleau-Ponty calls the body as a condition for the possibility of any kind of experience, and the "living body" in his view, is the axis of the human cognitive and being in the world. He considers the harmony of the body with the world as pre-reflective and sensory perception as pre-cognitive, and this enumerates sensory perception following the transfer of sense from the artwork and in lived experience. The purpose of this study is a comparative study of Deleuze "body without organs" and Merleau-Ponty "living body", so that it can finally make its audience aware of commonalities such as becoming and consonance with the world and differences such as intention, timeliness, organism and subject position between the views of these two philosophers. Finally, there is an overview of the interaction of this embodied from the perspective of each philosopher with contemporary art.
For this purpose, the article first describes and analyzes these two definitions of the body and the characteristics of each in general, finally to achieve the changing position of the agent from subject to body, in the coordinates of life today and the experience of living (both) has caused the changed in the structure of contemporary art in the direction of fluidity and transmission of today's world with a focus on the physicality.
Downloads
Article Details
Copyright owner / Copyright holder:
Authors retain unrestricted copyrights and publishing rights. The author has complete control over the work (e.g., retains the right to reuse, distribute, republish, etc.).
Copyright Notice:
Authors who publish with this journal agree to the following terms:
- Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under the Creative Commons Attribution-NonCommercial 4.0 International (CC BY-NC 4.0), which allows others to:
Share — copy and redistribute the material in any medium or format;
Adapt — remix, transform, and build upon the material.
The licensor cannot revoke these freedoms as long as you follow the license terms. Under the following terms:
Attribution — You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use.
NonCommercial — You may not use the material for commercial purposes.
2. Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgment of its initial publication in this journal.
3. Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See: The Effect of Open Access).