All of these books are basically free : https://voidnetwork.gr/wp-content/uploads/2016/09/Phenomenology-of-Perception-by-Maurice-Merleau-Ponty.pdf
The cover is reminiscent of Hirst's 1986 'Spot Painting', probably designed to illustrate the metaphysical suffrage in each spot particularly this one piece completed in 1986 painfully and obviously less organized and linear than most of the other Spot Paintings in his series. This painting was one one of the first in the dot series completed at Goldsmith's explaining the lack of rhetoric and linearity seen in the rest of the collection such as "Untitled" with black dot " to be completed in 1988. The works appear to be completed mechanically although a series of assistants were hired to execute the project. Many of the titles in the subsequence series, "Pharmaceuticals" were conceptually designed to interrogate the chemical company Sigma Aldrich which he found in a catalogue titled " Bio Chemichals for Research and Diagnostic Reagents" in marketing various chemicals used for biomedical research. The work is quintessentially commercial, noting the variables in the trade of biochemicals even today used ( bought and sold ) for the purposes of experimentation in vaccinating the corona virus. The variations in the spots use mathematical equations to create balance and harmony notably in his later works.
... Have I ever mentioned to you that I am dating the filthiest entity in the history of mankind ? He is like a broken down fat squealing subspecies trying desperately to escape the excrementally infested mud-puddle where he has in fact, been literally, ecstatically consuming his own fecues, failing to escape his own babbling dribble albeit over dramatically, each squeal more obnoxiously desperate and mind dissolving then the last.
I think writing this may help as it has in the past, nothing is off limits and seemingly, the move vulgar and grotesque, the better. It is apparent that this motion is against my ( clearly amiable and formidable ) character although the hatred is blinding, every day I wake up to grimace at the thought of my most recent encounters with the barbarianism of the backwoods in the northern country, devoid of civilization and humanity, bleakly starved of culture and humanity, painful to the eye.
The predomination of Op art subsequently became predominate in the late 1960's, cubism at the fall of the industrial revolution and the automatism of the cognitive in the dawn of photography in the retinal abstractions devised through expressionism.
One might argue that the beginning of impressionism itself becomes an early form of illusion as the paintings quite simply record the diffractions of light as it reflects on the surface of objective form as it intercedes with the retinal nervous system. Ponty takes the two straight lines in Müller- Lyer’s optical illusion and uses this to describe sensation through the retinal advisory of the receiving qualities.
Colour, he notes is not a sensation but a sense. The quality of the colour is a dimension of deviating sensation and the effect that it has on the cognitive, for example the play of light upon the object is just a spacial configuration in the way that effects the mind. Ponty also notes that all consciousness is not immediate of quality and that consciousness ( is not a variation of quality and time ) as it is an object for the consciousness of the object to reside in. He also notes that consciousness should not be subject to prejudice, noting that the abstraction of the optical illusion is merely visual through the retinal sensory, as quality is not merely defined by the retinal capabilities of the object.
He states that the object is not ambiguous, and only appears to be so through our inattention. The visual is seized by the eyes and what become sensation is what is sensed. The behaviour of the individual is then subject to reflex that patterns the nerval system through its sensory advisors indicating the nature of the objective world and reproduced or computed in a likewise manner to the cognitive mind. Ponty states "For example, the
intensity of a sound under certain circumstances lowers its pitch; the
addition of auxiliary lines makes two figures unequal which are objectively equal." (33). In this circumstance if one takes the obscene wailing of aforementioned full grown primitive male beast in an attempt to attract the attentions of his mother, the nature of the sound and notable intensity would be subdued in the company of any other subsequent males of general age and likeliness. The colour of the subsequent subject's face would then redden in colour due to the nature of the demands and wailing. The nature of the phenomenon is obviously oblique, the isolate nature of unpopulated environment hence creating the ideal environment for the subjects irrational and explicit behaviour.
One might assume that the hypothesized " sensible " nature of attempted external stimulus would subdue the oblique primitive's hoarding desperate shrilling wails for attention, albeit, the dramatization of the subject becomes intensified.
The sensory status of the apparatus devised by the subject, Ponty notes, is no longer fit for the transmitter. The cortical or cognitive revelations to the sensitivity of temperature for example through the reappearance of the sensation via memory. The same follows for colour in the state of the individuals initial experience of the sensation, and the following recollection upon seeing the colour again through repetition. Sensation is not subject to reflection or memory and is directly related to the object.
The sensation instigated by one's bodily surroundings become the phenomena experienced through nerval signals, for example the peripheral experience as an identified elementary psychic function ( although not a superior function) as it is not connected to the bodily function/ or the bodily substructure.
Sensation is not subject to reflection or memory and is directly related to the object.
Ponty notes that Gesalt theory, as a revelation of the early 1900's becomes the subsequent epitome of reflection due to the study of patterns and recognition in the philosophically and psychologically introduces sensations that are no longer physical variables, numerically opening up the universe into the void of mathematical phenomenon.
In conclusion, noting the revelations induced by the Muller Lyer diagram, the apparatus appears to have unequal lines, when in fact they are equal. The line, isolated in its objective is equal to the other line equally isolated. Ponty notes that these observations are only detectable through analytic perception. The concept of the image only becomes real though sensation, it is not the analytic truth or fact, just the sense perceived through the retinal conjuncture that becomes relevant through the superstructure of consciousness.
The nature of primitive thought is essentially the basis of perception devoid of analytical thought, the impoverishment of perception that they are unable to critique and translate.
